COMBAT PHOTOGRAPHY DURING THE FRANCO-AUSTRIAN WAR OF 1859 (Revised 2023)

GLASS STEREOGRAPHS
The Daguerreotype (A unique image on a silvered metal plate.) and the Calotype (A paper negative from which more than one positive paper print could be taken.) were discovered in 1839, then perfected throughout the 1840s. But both these processes, magical as they seemed to their time, were slow and very limited in what kinds of subjects they could successfully represent. And there were severe limitations on the number of multiple copies that could be made from each process.
In the early 1850s Frederick Scott Archer worked out a usable photographic process that could catch a slightly larger slice of the flow of daily life and freeze it into a crisp negative image on glass. And this negative image could be used to make as many positive prints as desired. The possibilities of creating multiple copies from a single negative opened up the photography profession to the possibility of mass production and distribution and created an economic market for mass consumption of these images. During the next thirty-odd years millions of images using Archer’s wet-collodian process flooded the world as commercial photographers developed ways to find new mass markets for their photographs. Stereograph views, cartes-de-visite, and topographical scenes moved from a novelty to a commonplace tool of commerce, science and education.
The stereographic format was used most frequently for views of scenery or buildings. However, the photographic materials were still so slow that it was impossible to capture fast motion, and difficult to arrest any movement at all. For thirty years it seems as if photographs of civic monuments and urban buildings were taken during some disaster that has cleared the streets of all the people, but, in fact, usually they were hurrying by too quickly to impress their images on the slow glass plates of the photographer. Blurred figures and fragments of movement in the busy streets and boulevards of the cities were captured only occasionally by the camera.
Some early stereographs were created on glass, extending the long-established practice of producing painted glass lantern slides for entertainment. Most of these glass stereo views were manufactured and sold between about 1855 and 1859; although some glass stereos were made even as late as World War I. Glass stereos were considered to be more beautiful and a more luxurious product than stereos on paper, but they were bulky, heavier and more awkward to handle, and, of course, terribly fragile. The Langenheim Brothers, from Philadelphia, were the predominant makers of glass stereo views in the United States. But an even larger producer and distributer of glass views was Ferrier & Soulier in Paris, a firm later bought out by Leon & Levy. Marc Antoine Gaudin and Alexis Pierre Gaudin, brothers based in Paris, was another established firm that made, manufactured and distributed glass stereo views. These firms often sent photographers to the sites of known tourist attractions throughout Europe and the Near East, and then marketed these views widely to the public during the first wave of excited interest in the educational and entertainment value of the stereoscope. The beautiful scenery of Switzerland was a favorite subject of these stereo view makers, as was views of the cities and buildings of Italy and of France itself.

View of Girgh, in upper Egypt, by Francis Frith, 1857.

No. 956 View of Constantinople and the Mosque of Soliman.

“895. Le Glacier de Gorner et le mont Rose (Suisse.)”

Unlabelled Swiss view. The Matterhorn in the background.

“No. 504. Panorama of Florence (No. 5).”

Unlabelled view. Roman Forum and Santa Maria Church, Rome, Italy.

THE FRANCO-AUSTRIAN WAR of 1859
At the mid-point of the 19th century the Italian Peninsula was a loose collection of small kingdoms, principalities and provinces; many of them under the domination of the Austrian Empire. The third quarter of the century saw the piecemeal elimination of the Hapsburg rule and the gradual unification of Italy into a modern nation/state. The Franco-Austrian War was fought by Napoleon III of France and the Kingdom of Piedmont-Sardinia, in a defensive alliance, against the Austrian Empire. France and Sardinia had signed a secret treaty which stated that France would help Sardinia fight against Austria if attacked, and Sardinia would then give Nice and Savoy to France in return. This secret alliance served both countries: it helped with the Sardinian (Piedmontese) plan of unification of the Italian peninsula under the House of Savoy, and weakened Austria, an adversary of Napoleon III’s French Empire. Provoked by demands for independence and Sardinian troop maneuvers in the Piedmont, the Austrians demanded that the Sardinians stand down and, when they refused, declared war on April 26, 1859. The Austrian plan was to use the Austrian 2nd Army of approximately 140,000 men to crush the Sardinian army of approximately 70,000 men before the French could intervene. But the Austrian 2nd Army advanced into Piedmont slowly and took almost ten days to travel the fifty or so miles to be within reach of the Sardinian capital of Turin. This delay enabled the French forces to enter Italy, as Marshal François Certain Canrobert quickly moved French forces into Piedmont by the first strategic massive use of railways. On May 20th the French infantry and Sardininan cavalry halted the Austrian army in a skirmish near Montebello, causing it to retreat and delay even more. Napoleon III, now in personal command of the Allied forces, again used the novel and daring tactic of moving his French troops by rail to circle the Austrian army to the north to cut off its lines of communication and supply. To cover this maneuver, he ordered the Sardinians to feint towards Palestro and there, on May 30th, when the Austrians responded with a reconnaissance in force, the first serious battle of the war was fought. Some 14,000 Austrians supported by 40 guns attacked a combined French/Sardinian force of 10,700 men and 18 guns: but were thrown back with heavy casualties. The Austrians retreated back across the river Ticino and dug in. Napoleon III, now ready to complete his northern thrust, left most of his men on the Sardinian side of the river, and took 30,000 troops across the Ticino heading for the village of Magenta where he intended to establish a bridgehead. There, however, he ran into significant numbers of Austrians and a battle developed between Napoleon’s vanguard and the Austrians on June 4th. The Allies won at Magenta as well, and, on June 6th, the Austrians abandoned Milan and retreated east. Another Allied victory at Melegnano kept them on the run until they arrived back in the Quadrilateral fortresses in the well-fortified Austrian territory in Eastern Lombardy. The Austrian Emperor Franz Joseph himself then took control of the Austrian army in northern Italy. From there, and reinforced from Vienna, the Austrians sortied out from Solferino to attack the Allied Army. The Piedmontese-French army had taken Milan and then slowly marched further east to finish off Austria before Prussia could get involved. The Austrians found out that the French had halted at Brescia, and decided that they should attempt to surprise them by suddenly switching onto the attack The battle rapidly developed into a series of attacks and counter-attacks as the Austrians tried to crush the French right wing and the Allies tried to capture Solferino and pierce the Austrian center. It ranged over an enormous area, some sixty square miles, with the Allies committing their piecemeal forces to action as soon as they arrived on the field. The battle raged from June 21 to June 24 and eventually the Austrians were driven back into the Quadrilaterals. It had been, however, a bloody contest, with the Allies taking 17,000 casualties out of 137,000; and the Austrians taking 21,000 casualties out of 128,000. On July 11, the Austrian Emperor Franz Josef, defeated in battle and faced with the prospect of a revolution in Hungary, met with Napoleon III, who was badly affected by Solferino’s large number of casualties and fearful that a drawn-out campaign would allow Prussia to enter the conflict, and they together signed an armistice without consulting the Sardinian allies. The Franco-Austrian War, also known as the Second War for Italian Independence, began the unification of Italy, with Sardinia absorbing Lombardy and the Duchies of Parma and Magenta. The next year, in 1860, with French and British approval, the central Italian states — Duchy of Parma, Duchy of Modena, Grand Duchy of Tuscany and the Papal Legations — would be annexed by the Kingdom of Sardinia, and France would take its deferred reward, Savoy and Nice. This latter move was vehemently opposed by Italian national hero Garibaldi, a native of Nice, and directly led to Garibaldi’s expedition to Sicily, which would complete the preliminary unification of Italy.

COMBAT PHOTOGRAPHY DURING THE WAR
These scenes were taken by an unidentified French photographer who was following in the wake of the French army during its attempt to expel the Austrian army from the Italian peninsula during the Franco-Austrian War of 1859. When the war broke out a surprising number of semi-official and completely unofficial photographers wound up in the theatre of war and photographed around the edges of the conflict. Most of these individuals, even if mentioned at all, have remained unnamed in the histories of photography. This is, perhaps, not too surprising. There are still many gaps in our knowledge of the photography of the American Civil War, even though some serious attention has been directed towards its study during the past fifty years. And the Franco-Austrian conflict, though important to the history of the unification of Italy, was a great deal shorter, far smaller, and of less consequence to the theater of world history than the American Civil War. But this conflict did precede the Civil War by two years, and the patterns of usage for photography in the Franco-Austrian war were all repeated, on a larger scale, in America several years later.
When Roger Fenton took the wet-collodion process into the combat zone of the Crimea in 1854, the process was a still new, and in many ways untried, technology. But by 1859, when the armies of France and Austria began maneuvering against each other in Italy, the stereograph was a well-established format with strong production and marketing structures in place and operating broadly throughout the Western world. Two of the largest publishers of stereographic views in France, Ferrier & Soulier and the Gaudin Brothers, had been or had had operatives photographing extensively in Italy for several years. And of course, there were many excellent Italian photographers on hand as well. [“…Those who are fond of the stereoscope, and who possess a series of M. Gaudin’s stereoscopic slides, taken in Italy, would be able to follow the belligerent parties step by step; or, better still, perhaps, with the stereoscopic views of Genoa, Milan, Turin, and the whole of Piedmont and Lombardy, executed very beautifully by M. Ferrier, member of the Societe Française de Photographie. We may add that the views taken in Tuscany, Naples, Rome, Venice, &c., by MM. Alinari, Lorent, Naya, Bernard, &c., many of which figure in the present great Exhibition of Photographic Art, of which we have lately spoken, become interesting certainly at the present moment, on account of the unhappy events taking place, or about to take place, in these quarters….” “Correspondence: Foreign Science: Photography and War!” Photographic News 2:39 (June 3, 1859): 150-151.]
The French Army, aware of both the tactical implications and the propaganda value of the Crimean War photographs, had begun to train some of its officers in photography and would eventually develop a formal photographic corps as part of its everyday operations. [“…It appears that several months since photographic apparatus was sent to the Artillery in garrison, at Versailles, with proper persons to give instruction in the art. Laboratories were established, and good progress made by the military students in its practice, some of the prints they turned out being very creditable specimens of photography. The scene of their labours is now transferred to the plains of Italy, the Emperor being desirous of possessing pictures of those fields of action in which he so confidently expects to be victorious…” “Photography in the Camp.” Photographic News 2:37 (May 20, 1859): 121-122.]
Civilian individuals quickly travelled to the conflict. Among these were several photographers. Disderi, better known for perfecting the carte-de-visite format, followed the French army, taking portraits of officers and men. (This pattern would be followed by many photographers in the USA during the next few years.) [“…I met a good many well-known Parisians yesterday at Novara. Among them were M. Audigen, the correspondent of the Patrie, who was in company of M. Durand Brager, whose pencil rendered such valuable services in the Crimea. As regards photographers, I have only met Disderi; but I know that they are all along the line. You may believe me, photography will do its duty here bravely. From La Lumiere.” “Photography at the Seat of War.” Photographic News 2:41 (June 17, 1859): 172.] Some of these individuals were what we would today call war correspondents and they began sending back dispatches. One, a M. Berardy, was sent by the French photographic journal La Lumiere, to make photographs and to correspond back to the journal. And the most extensive reportage of the photographic coverage of the conflict that is in English came from a series of letters sent to the Photographic News by “J. L.,” a British amateur photographer who diverted from a photographic trip to the Alps to cover the war when it broke out. Frankly, in this more cynical and suspicious age, “J. L.” feels like a British secret agent to me, but I’m grateful for his detailed and anecdotal descriptions of his experiences.
So there are many individuals who might have been the authors of these glass stereographs depicting the aftermath of the Italian battles. Among these, my best guess would be that they were taken by Claude-Marie Ferrier, of the firm Ferrier & Soulier; but I would be pleased if someone could bring new information to either prove or disprove that supposition.
(2023 additional) Please do not overlook the correspondence to this post. Among the lively and interesting discussions in the comments Janice Schimmelman has responded to the question and identified and provided crucially valuable information about the photographer – who was Jules Couppier.
I have also enlarged the bibliography to reflect additional information. WSJ]

“704. Vue du Champ de batalle de Melegnano, prise du Clocher.” [View of the battlefield of Melegnano, taken from a church steeple.” Melegnano, south of Milan. ca. June 6th.]

“702. Vue du Cimetiere de Melegnano – le lendemain du Combat.” [View of the Cemetery at Melegnano – the aftermath of combat.” ca. June 7th-8th.

“Pont de Buffalora (sur le ???) Detruit par les Autrichiens.” [“The bridge at Buffalora, destroyed by the Austrians.” Buffalora is near Brescia, where the opposing armies met at the beginning of the battle for Solferino.] possibly ca. June 21

“727.Vue du Champ de bataille de Solferino, prise de la [Cour de Govriuna?] [“View of the battlefield of Solferino, taken from the courtyard of Gioviana.” ca. June 24

“724. Petite vu du Cimetiere de Solferino – pris du Mamelon en etait du Empereur le 24th Juin 1859.” [“View of the cemetery at Solferino, taken from the knoll where the Emperor was on June 24th, 1859. ca. June 24th-26th

“Vue de l’Avenue do Brescia avec convoi de blesses et de Vivres.” [“View of the road to Brescia, with the convoy of the wounded and survivors.” Aftermath of the battle of Solferino. ca. June 24-June 26th.]

“690. Hopital Militaire a Milan.” [“Military hospital in Milan.” ca. June 6 to June 30.]

ARMEE D’ITALIE AT CAMP DE ST. MAUR BY THE GAUDIN BROTHERS, 1859.
Each summer the French army maneuvered and trained at St. Maur, in France, and there are records indicating that these annual exercises were photographed from at least the early 1850s, and that an interested public avidly purchased these photographs. There was, of course, an even larger interest in 1859, due to the heightened patriotic feelings caused by the current war. The Gaudin Brothers, members of a well-established photographic family, and proprietors of a large stereoscopic manufacturing firm, produced a series of views of the Army of Italy in camp. Again, these images of posed group portraits prefigure those camp scenes of the American Civil War.

[Pellerin, Denis. Gaudin frères : pionniers de la photographie, 1839-1872. Chalon-sur-Saône : Société des amis du Musée Nicéphore Niepce, 1997.]

FRANCO-AUSTRIAN WAR BIBLIOGRAPHY
Compiled by William S. Johnson. (revised June 2022)

DUPUIS, A. (FRANCE, ITALY)
“Address.” LIVERPOOL AND MANCHESTER PHOTOGRAPHIC JOURNAL ns 1:23 (Dec. 1, 1857): 255. [“Our remarks in this place must to-day be brief, since we have more matter in type than we can insert: several topics up on which we had intended to offer some comments must therefore stand for later. The proceedings of the Liverpool and Chorlton Societies will be found to be full of interest. We shall recur to them again. Mr. Burnett has favoured us with some remarks on burnt-in porcelain, to which we would call the particular attention of our readers, for it must be evident, if they are correct, that one of our contemporaries, and also one of the leading members of the Liverpool Photographic Society, have not acted with that candour which we desire see one practitioner in the art act towards the other — whether it has been done intentionally or not we will not presume to say, but leave our readers to form an opinion for themselves.
At the meeting of the Photographic Society of Scotland, on the 6th ult. Sir David Brewster communicated the following new process for Dry Collodion, discovered by M. Dupuis, officer of Health to the French Army of Occupation at Rome: — The collodion is formed of eighty cubic centilitres of ether (s.g. 60), forty ditto of alcohol (s.g. 36), and one gramme each of gun cotton and iodide of zinc. Iodide of ammonium would be more rapid, but the blacks not so good. The sensitizing bath is composed of ten grammes fused nitrate of silver, one hundred and fifty, grammes distilled water, and fifteen grammes commercial acetic acid. Afterwards wash in distilled water, and coat with a solution of dexedrine of the consistency of three degrees of the syrup-measurer of chemists. The developing solution is formed of one gramme pyrogallic acid, three hundred grammes distilled water, and one gramme crystallized citric acid. Less citric acid might answer, and allow the exposure to be shorter. The picture may be strengthened by adding nitrate of silver. The exposure in sunshine should be from two-and-a-half to three minutes, with a small single lens of ⅙ plate size; diaphragm, eight millimetres; focus, (illegible)teen centimetres: if without sunshine, about twelve minutes exposure will be required.
(Assuming that Dupuis, Officer of Health to the French Army of Occupation in Rome in 1856, was still with the army in Rome when the second war for Italian unification broke out in 1859, he then might possibly have been one of the unknown photographers who made stereo slides of the conflict. WSJ)]

DUPUIS, A. (FRANCE, ITALY)
Brewster, Sir David. “Account of a New Photographic Process by M. Dupuis, Officer of Health to the French Army of Occupation in Rome.” PHOTOGRAPHIC AND FINE ART JOURNAL 11:2 (Feb. 1858): 55-56. [From J. of Photo. Soc., London. Read before the Photographic Society of Scotland, Nov. 5, 1857. “When I was in Rome last winter I became acquainted with M. M. Dupuis, a celebrated amateur photographer, who had produced the finest binocular pictures of the public buildings in that city…”]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
La Gavine. “Chronique.” LA LUMIÈRE 9:18 (Apr. 30, 1859): 72. [“Un des spectacles revenant de droit à la photographie, est celui qu’offre le départ de notre armée pour l’Italie. Il y a des scènes d’adieux et d’enthousiasme qu’il n’est pas inutile de reproduire. En dehors de l’intérêt qu’elles excitent, on peut recueillir ainsi presque officiellement des documents qui seront précieux pour l’histoire de nos temps. Au milieu des bagages militaires, entre un caisson et une giberne, j’ai vu, de mes propres yeux vu, un objectif qui, lui aussi, allait faire la campagne: L’exemple donné en Crimée par M. Fenton ne manquera donc pas d’imitateurs en Italie. Grâce à la photographie, nous pourrons avoir les portraits officiels de tous les personnages appelés à jouer un rôle important dans le Wame émouvant qui va se dérouler, qui se déroule (peut-être même à cette heure, sur les rives du Tessin. — Déjà la plupart des ateliers sont mis en réquisition par un grand nombre de soldats de tous grades, (qui, avant de s’embarquer pour Gènes, ou detraverser les Alpes, veulent échanger leurs portraits. — Bonne chance à ces braves, et puissious-nous bientôt signaler une belle photographie du retour victorieux de nos armées!” (Etc., etc.)
[“One of the spectacles coming back by right to photography, is that offered by the departure of our army for Italy. There are scenes of farewells and enthusiasm which it is worth reproducing. Apart from the interest which they arouse, one can thus collect almost officially documents which will be invaluable for the history of our times. In the midst of military baggage, between a caisson and a cartridge pouch, I saw, with my own eyes, an lens which was also going to make the campaign: The example given in the Crimea by Mr. Fenton will therefore not be lacking of imitators in Italy. Thanks to photography, we will be able to have the official portraits of all the characters called to play an important role in the moving drama which will take place, this hour, on the banks of the Tessin. — Already most of the studios are being requisitioned by a large number of soldiers of all ranks, who, before embarking for Genoa, or crossing the Alps, want to exchange their portraits. — Good luck to these brave men, and may we soon report on the beautiful photography of the victorious return of our armies!]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
Lacan, Ernest. “La Photographie de la Guerre.” LA LUMIÈRE 9:20 (May 14, 1859): 77. [“Pour faciliter à’ leurs lecteurs l’intelligence les faits si intéressants qui vont se produire sa Piémont et dans le nord de l’Italie, la plupart des journaux, petits et grands, ont publié les cartes, des plans et des descriptions des lieux où doivent se jouer les principales scènes de la guerre. Quelques-uns y ont ajouté le portrait plus ou moius ressemblant des hommes qui doivent remplir les principaux rôles dans ce grand drame épique. C’est fort bien fait, et l’on ne peut qu’applaudir à de semblables publications; mais qu’il nous soit permis de faire remarquer que si complets que soient ces dosuments, il en est d’une vérité bien plus incontestable encore et que tout le monde peut se procurer : nous voulons parler de ceux fournis par la photographie.
Sans entrer aujourd’hui dans de plus grands détails, nous rappellerons seulement les magnifiques vues stéréoscopiques de Turin, de Gênes, de Milan, de tout le Piémont et de toute la Lombardie, par M. Ferrier et par d’autres maîtres en photographie; celles, stéréoscopiques ou non, prises en Toseane, à Home, à Venise, à Naples, par MM. Alinari, le Dr Loreut, Bernard et tant d’autres dont j’oublie les noms, mais dont on retrouvera les oeuvres dans le musée si riche de MM. Gaudin frères. Quant aux portraits, les plus intéressants, ceux des généraux, des diplomates, des hommes d’État, ils sont tous dans les albums de Nadar, de Mayer et de nos principaux portraitistes.
Il y a quelques mois, on nous avait informé que plusieurs officiers de l’artillerie de la garde en garnison à Versailles avaient reçu des appareils photographiques, et que des laboratoires spéciaux étaient organisés pour eux. Des essais très-satisfaisants nous avaient été montrés, et nt)us’6^m|îtiohs pouvoir bientôt rendre compte d’importants .travaux exécutés dans ces ateliers militaires. Les événements ont changé la face des choses. C’est sous la tente que se continueront les études commencées, et c’est sur le théâtre même de la guerre que les nouveaux photographes produiront leurs premières oeuvres. Aussi pouvons-nous espérer des pages d’un immense intérêt à lâ fois pour l’art et pour l’histoire. E. L.”]
[(To facilitate to their readers the intelligence the facts so interesting which are going to occur in Piedmont and in the north of Italy, most of the newspapers, big and small, have published the maps, plans and descriptions of the places where the principal scenes of the earth are to be played must fill the principal roles in this great epic drama. It is very well done, and one can only applaud such publications; but let us point out that however complete these documents may be, there is an even more indisputable truth which everyone can obtain: we mean those furnished by photography.
Without going into greater detail today, we will only recall the magnificent stereoscopic views of Turin, Genoa, Milan, all of Piedmont and all of Lombardy, by M. Ferrier and other masters in photography. ; those, stereoscopic or not, taken in Tuscany, Rome, Venice, Naples, by MM. Alinari, Dr. Lorent, Bernard and so many others whose names I forget, but whose works will be found in the rich museum of MM. Gaudin brothers. As for the most interesting portraits, those of generals, diplomats, statesmen, they are all in the albums of Nadar, Mayer and our principal portraitists.
A few months ago, we were informed that several officers of the artillery of the guard in garrison at Versailles had received photographic apparatus, and that special laboratories were organized for them. Very satisfactory trials had been shown to us, and we shall soon be able to give an account of the important works carried out in these military workshops. Events have changed the face of things. It is under the tent that the studies begun will be continued, and it is on the very theater of the war that the new photographers will produce their first works. So we can expect pages of an immense interest both in art and in history. E. L.)]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
“Photography in the Camp.” PHOTOGRAPHIC NEWS 2:37 (May 20, 1859): 121-122. [It appears that several months since photographic apparatus was sent to the Artillery in garrison, at Versailles, with proper persons to give instruction in the art. Laboratories were established, and good progress made by the military students in its practice, some of the prints they turned out being very creditable specimens of photography. The scene of their labours is now transferred to the plains of Italy, the Emperor being desirous of possessing pictures of those fields of action in which he so confidently expects to be victorious. There is thus a possibility that they may accomplish, on a more extended scale, that which our correspondent in Algeria has done on a lesser, and give to the world representations of a field of battle as it actually appears during an action. We have also received a letter informing us that experiments had been made, within the last few days, by some officers at Grenoble, with the view of testing the practicability of a suggestion put forth by us, and translated into the foreign papers, relative to the employment of microphotography in transmitting despatches from one part of an army to another, between which the communication is excessively dangerous or absolutely impossible. In the experiments alluded to, an imaginary despatch, containing fifty-two words, was written on a strip of thin paper in very small letters, and as closely as possible; this piece of paper was then rolled up tightly, and deposited in a conical ball, which had been hollowed at the core to the required depth. The open end was stopped up with wax, and the ball forced down into a rifle in the ordinary manner. Some thick planks were then reared on end, in the road which ascends the hill on which the fortress is built, and the bullet was fired into them from a distance of 150 metres, after which it was cut out and examined, when it was found that though the wax had been forced against the outer edge of the despatch in such a way as to glue the edges together, yet this was readily removed with a penknife, and the despatch itself was uninjured. This method of writing the despatches, instead of employing micro-photography, is so far an improvement on our suggestion, that it can be adopted under all circumstances, whatever the state of the weather may be.”]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
“Miscellaneous. Photographic Incidents.” PHOTOGRAPHIC NEWS 2:37 (May 20, 1859): 129. [“One of the spectacles appertaining to photography is that which the departure of our troops to Italy offers. There are parting scenes and enthusiasm which it is far from useless to reproduce. Over and above the interest they excite, one may thus collect almost officially documents which will be invaluable for the history of our times. Among the military baggage I have seen an object glass, which was likewise going to make the campaign. The example given by Mr. Fenton in the Crimea will not, therefore, want imitators in Italy. Thanks to photography, we may be able to get official portraits of all the personages who may be destined to play an important part in the moving drama about to commence, perhaps even now begun, on the banks of the Ticino. The greater part of the ateliers have already been put in requisition by a vast number of soldiers of every grade, who, before embarking for Genoa, or traversing the Alps, desired to exchange their portraits….’” — M. La Gavinie in La Lumiere.”]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
Lacan, Ernest. “La Photographie de la Guerre.” LA LUMIÈRE 9:21 (May 21, 1859): 81. [“Lettres d’italie. Correspondance du Journal la Lumière.
Au moment où l’attention de tous les esprits se porte sur le théâtre de la guerre, il nous a paru indispensable d’ouvrir, nous aussi, une correspondance régulière qui, en signalant les travaux de la photographie dans nos camps , fera connaître les scènes les plus intéressantes du grand drame qui se prépare. Nous avons eu la bonne fortune de voir accepter cette mission par deux photographes distingués qui suivent en ce moment les opérations de nos armées, et nous commençons dès aujourd’hui la publication de cette correspondance par la lettre que l’un d’eux, M. Berardy, nous adresse de PonIedecimo:
A M. Ernest Lacan. 15 mai 1859.
A part les cochers de fiacre et les marchands de parapluie, il n’est personne sur la terre qui aime les mauvais temps. Par moments, on peut bien désirer une petite pluie; mais du mauvais temps, toujours du mauvais temps, c’est à frissonner d’horreur rien que d’y penser. Or, c’est ce que j’éprouve en ce moment, moi pauvre diable, que la fatalité a poussé à m’attacher aux pas de notre armée. J’en suis encore à chercher le beau ciel de l’Italie, car, depuis mon départ de Marseille, je n’ai rencontré partout que de l’eau, et toujours de l’eau. Combien je plains le sort de mes frères en photographie, si le temps que nous avons ici règne à Paris. C’est que le photographe n’est pas ce qu’un vain peuple pense. Papillon que la lumière attire, il ne vit en quelque sorte que de lumière. Lui,,cet, être incomparable, assez robuste pour se cbriiplai’re au milieu des poisons les plus subtils, et assez délicat pour ne respirer que des vapeurs éthérées, il est inquiet devant un nuage ; il tombe de faiblesse au moindre brouillard, et se meurt dès qu’il pleut. Tous ces symptômes alarmants sont la conséquence forcée d’une maladie dont il est fatalement atteint. Cette maladie, qui lui est spéciale, était inconnue autrefois; elle n’est apparue sur la terre qu’avec la photographie. C’est une espèce de monomanie dont je subis les accès eu ce moment, et que j’appellerai héliophylie. La médecine est impuissante contre elle, et la présence seule d’un soleq radieux la guérit de suite. C’est donc du bout des nerfs et l’âme assombrie que je vous écris ces quelques lignes dé souvenir. Cependant le tableau qui ss déroule devant moi est assiz pittoresque. De ma fenêtre, ou plutôt de notre ifenêtre, car j’ai depuis hier deux officiers de zouaves pour camarades de chambrée ; de notre fenêtre,’ dis-je, j’aperçois les derniers contreforts des Apennins du cbtr.de la plaine d’Alexandrie. Celle-ci s’étend a perte de vi:r\ et n’est bornée à l’horizon que par les* cîrnes neigeuses des Alpes, qui décrivent un vaste icmi-cercle et disparaissent pour moi vers la gauche, cachées qu’elles sont par une de ces mille montagnes dont le sol est hérissé depuis Gênes jusqu’ici. La route gravit lentement cette montagne, tantôt apparente, tantôt cachée par quelque vaste repli; du terrain. On n’y aperçoit rien encore, mais on entend au loin dos refrains de notre pays, et bientôt on y voit serpenter une longue coloune de nos braves soldats. C’est toute une brigade, qui nous a quittés à l’aube du jour, après avoir passé une nuit spus la tente dans le lit du torrent qui baigne notre maison, torrent qui, presque a sec hier, roule ses eaux avec fracas aujourd’hui, et sera un fleuve demain, si le mauvais temps continue. Espéions que non, car je ne prends pas mon mal en patience, et suis loin d’avoir là-dessus la philosophie de nos tourlourous, qui, trempés jusqu’à l’échiné, et chargés comme des bêtes de somme, barbottent et chantent sous la pluie comme de vrais canards.
Malgré l’accueil cordial des habitants, c’est à peine si on trouve à manger dans ce pays, où il ne pousse que des pierres, mais quelles pierres ! En revanche, il y a du vin ; il n’est pas fameux, il est vrai, mais à la guerre comme à la guerre. Il paraît du reste que tout le monde n’est pas de mon avis là-dessus, car j’entends au-dessous de moi les éclats bruyants de nos soldats qui sablent le vin du crû qui leur est offert par quelques vieux habitants du pays, médaillés de Sainte-Hélène. Mon arrivée en leur pays, qui a coïncidée avee_celle de nos premières colonnes, a été pour ces braves gens un bien grand sujet d’ôtonne ment. Mes appareils leur semblaient de nouveaux engins de guerre, et il n’est sorte de questions dont je n’aie été assailli. Je crois que mes relations avec le premier pharmacien de l’endroit, auquel j’étais particulièrement recommandé, et qui possède la meilleure speciera (pharmacie) de tous les environs, ont dû contribuer quelque peu à me faire passer pour un médecin. Toujours est-il que lorsque je sors, en opérateur, bien entendu, je suis escorté d’une foule nombreuse. Celle-ci se prête complaisamment à mes caprices, et je fais poser qui à droite, qui à gauche, tel groupe d’une façon, tel groupe d’une autre, de manière à orner et animer à mon choix les sites dont je prends la vue. J’ai entre autres parfaitement réussi de la sorte un pont sous lequel passe le torrent dont je vous ai parlé. Ce pont très -arqué, fait d’une seule mais immense arche, repose sur de magnifiques rochers baignés dans l’eau. Les deux rives qu’il réunit sont à pic et surchargées de maisons très-pittoresques, ayant à chaque étage de ces grands balcons ou plutôt de ces terrasses où se passe toute la vie ita lienne. Pont et maisons sont surchargés de gens dans tous les costumes et dans toutes les postures, occupés à contempler le campement que sont entrain de préparer nos soldats dans le lit même du torrent, et justement dans l’axe de l’arche du pont. Ce camp présente, sous cette arche, un fond de perspective d’autant plus saisissant que les tentes ressortent admirablement en blanc’sur le fond noir des collines abruptes qui terminent l’horizon à peu de distance. Charrettes, caissons, fourgons, faisceaux d’armes, soldats en tenue de route, soldats débraillés, rien n’y manque. Il y a même dans un coin une distribution de pains qui ne laisse.pas que d’être très-animée. Je suis d’autant plus enchanté de mon succès que je n’étais pas installé pour une réussite quelconque, et que c’est par un coup de soleil entre deux ondées, qu’à la sollicitation de mon estimable droguiste et du non moins estimable curé de l’endroit j’ai mis à contre-coeur la” main à la pâte. Vous trouverez ces deux graves personnages à la droite du tableau. C’est vous dire assez qu’au premier moment de répit je tirerai un positif de mon épreuve pour vous en faire hommage. Mon collodion Bertoch a fait merveille, deux secondes de pose au plus ; en un mot, une pose instantanée. Pourquoi donc faut-il qu’il pleuve tant? On dit que l’ennemi en est encore plus contrarié que nous. S’il pouvait pleuvoir pour lui et faire beau pour nous! Quoi qu’il en soit, demain je décampe ; je pars avec mes deux camarades de chambrée. Je les fais profiter du veturino qui doit transporter tout mon bazar à Alexandrie. De là je vous écrirai plus longuement. Je n’ai rien fait à Gênes, votre maison Gaudin regorgeant de vues de cette ville ainsi que de celles de toutes les cités italiennes que parcourent les touristes. La saison et le bon vouloir de nos généraux aidant, je vous promets des choses que l’on n’aura pas encore vues et que l’on ne reverra jamais. Je vous serre cordialement la main. Bérardy.”]
[(As the attention of all minds is focused on the theater of war, it seemed essential to us to open, we too, a regular correspondence which, by pointing out the work of photography in our camps, will make known the scenes the most interesting of the great drama that is preparing. We had the good fortune to see this mission accepted by two distinguished photographers who are currently following the operations of our armies, and we begin today the publication of this correspondence with the letter that one of them, Mr. Berardy, who addresses us from PonIedecimo:
To Mr. Ernest Lacan. May 15, 1839.
Apart from cab drivers and umbrella sellers, there is no one on earth who likes bad weather. At times, one may well desire a little rain; but bad weather, always bad weather, makes one shudder with horror just to think of it. Now, that’s what I feel at this moment, me poor devil, whom fate has driven to attach me to the footsteps of our army. I am still looking for the beautiful sky of Italy, because since my departure from Marseilles, I have encountered nothing but water everywhere, and always water. How I pity the fate of my brothers in photography, if the weather we have here prevails in Paris. It’s that the photographer is not what a vain people think. Butterfly that the light attracts, it somehow lives only on light. Him, this, being incomparable, robust enough to delight in the midst of the most subtle poisons, and delicate enough to breathe only ethereal vapours, he is uneasy before a cloud; it falls from weakness at the slightest fog, and dies as soon as it rains. All these alarming symptoms are the inevitable consequence of an illness from which he is fatally stricken. This disease, which is peculiar to him, was formerly unknown; it only appeared on earth with photography.  It’s a kind of monomania that I’m having fits of at this moment, and which I will call heliophilia. Medicine is powerless against her, and the mere presence of a radiant sun cures her immediately. It is therefore from the end of my nerves and with a darkened soul that I write to you these few lines of remembrance. However, the picture that unfolds before me is quite picturesque. From my window, or rather from our window, for since yesterday I have had two Zouave officers for roommates; from our window, I say, I can see the last foothills of the Apennines at the head of the plain of Alexandria. This stretches as far as the eye can see and is bounded on the horizon only by the snowy climate of the Alps, which describe a vast semi-circle and disappear for me towards the left, hidden as they are by one of those thousand mountains whose soil bristles from Genoa to here. The road slowly climbs this mountain, sometimes visible, sometimes hidden by some vast fold; ground. Nothing can be seen there yet, but in the distance we hear the refrains of our country, and soon we see a long column of our brave soldiers meandering there. A whole brigade left us at dawn, after spending a night in tents in the bed of the torrent that bathes our house, a torrent that, almost dry yesterday, rolls its waters with a crash today. today, and will be a river tomorrow, if the bad weather continues. Let’s hope not, because I don’t take my pain in patience, et suis loin d’avoir là-dessus la philosophie de nos tourlourous, qui, trempés jusqu’à l’échiné, et chargés comme des bêtes de somme, barbottent et chantent sous la pluie comme de vrais canards.
Despite the cordial welcome of the inhabitants, you can hardly find anything to eat in this country, where only stones grow, but what stones! On the other hand, there is wine; he is not famous, it is true, but in war as in war. It seems, moreover, that not everyone is of my opinion on this, for I hear below me the noisy outbursts of our soldiers who sand the wine of the vintage which is offered to them by some old inhabitants of the country. , medalists from Saint Helena. My arrival in their country, which coincided with that of our first columns, was for these good people a very great subject of astonishment. My devices seemed like new engines of war to them, and there are no questions that I haven’t been assailed. I believe that my relations with the first pharmacist in the place, to whom I was particularly recommended, and which has the best speciera (pharmacy) in the neighborhood, must have contributed somewhat to making me pass for a doctor. Still, when I go out, as an operator, of course, I am escorted by a large crowd. This lends itself complacently to my whims, and I pose who on the right, who on the left, such a group in one way, such a group in another, so as to decorate and animate at my choice the sites from which I take view. Among other things, I have perfectly succeeded in this way with a bridge under which passes the torrent of which I spoke to you. This very arched bridge, made of a single but huge arch, rests on magnificent rocks bathed in water. The two banks which it unites are sheer and overloaded with very picturesque Italian houses, and houses are overloaded with people in all costumes and in all postures, busy contemplating the encampment that our soldiers are preparing in the very bed of the torrent, and precisely in the axis of the arch of the bridge. This camp presents, under this arch, a perspective all the more striking because the tents stand out admirably in white against the black background of the steep hills which terminate the horizon at a short distance. ^ Carts, caissons, vans, bundles of arms, soldiers in road clothes, scruffy soldiers, nothing is missing. There is even in a corner a distribution of bread, which cannot but be very lively. I am all the more delighted with my success that I was not set up for any kind of success, and that it From there I will write to you at greater length. I did nothing in Genoa, your Gaudin house full of views of this city as well as those of all the Italian cities visited by tourists. The season and the goodwill of our generals helping, I promise you things that we have not yet seen and that we will never see again. I cordially shake your hand. Berardy.”)]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
“Epitome of News—Foreign and Domestic.” ILLUSTRATED LONDON NEWS 34:974 (Sat., May 21, 1859): 502. [“It is said that a staff of photographers is about to be organized to join the French army in Italy.”]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
La Gavinie. “Chronique.” LA LUMIÈRE 9:21 (May 21, 1859): 82-83. [“Le journalisme est fils de la guerre. Voltaire, avec d’autres érudits, affirme que c’est à Venise, lors de la guerre avec les Turcs, qu’on publia la première fois (p. 82) dans les rues les dépêches. Le peuple s’assemblait pour en écouter la lecture, et payait cela une pièce de monnaie de l’époque appelée gazetta. De là l’origine de la gazette. Aujourd’hui, les petits bureaux des marcbandes.de jouiuiaux sont insuffisants, et l’on voit surgir de tous côtés, des feuilles périodiques nouvelles. Le public ne se laisse point affriander par d’autres sujets que ceux qui se rapportent à notre vaillante armée. Il la suit par la pensée jusqu’aux portes d’Alexandrie, où il attend avec impatience le dénoûment du drame que l’Europe jugera avant peu.
Ceux qui possèdent un stéréoscope et les magnifiques épreuves sur l’Italie de MM. Gaudin frères peuvent suivre, étape par étape, le chemin glorieux parcouru par nos troupes. — Ils ont pu avec elles entrer dans Gênes, la ville aux palais de marbre, traverser la rue Baibi, la place de l’Annunziala, la via Nuovissima, et s’arrêter devant le théâtre Carlo Felice. où l’Empereur assistait au spectacle.
L’illusion existe à ce point que, pour donner, comme l’a fait Edmond Texier, une description de la ville des Doria, il suffisait de passer la revue des épreuves que nous signalons, et que les amateurs s’em presse – ront d’aller choisir dans les magasins de la rue de la Perle.
Vous savez du reste la large part faite pendant cette campagne à la photographie. Elle est attachée officiellementà l’armée. Elle bivouaquera avec elle, et les objectifs seront braqués en même temps que les canons. L’Empereur, qui la veille de son départ pour l’Italie, honoraitl’atelier d’un photographe de sa«présence, attache une grande importance à ces documents, si précieux pour l’histoire. Nous aurons donc avant peu à feuilleter le nouvel album de la guerre. Qui nous dit que le ballon de Nadar, dont on n’entend plus parler depuis quelques mois, ne se gonfle pas en sourdine et ne va pas apparaître un de ces matins au-dessus des campements autrichiens? Voyez-vous le.tableau? La tête de Nadar s’épanouissant dans l’atmosphère, et son objectif reproduisant au nez allongé du général Giulay un plan complet des opérations si soigneusement dissimulées. On prête un mot à ce général Giulay qui n’a pas encore été reproduit; il peint l’homme. En voyant les marches rétrogrades du corps de l’armée, un officier exprima la pensée que cela avait tout l’air d’une reculade. “Nous! reculer! allons donc! aurait-il répondu, nous partons au contraire parce qu’ils ne nous attaquent pas ! Mais nous les avons attendus jusqu’au moment de leur arrivée!” * * * * Nos lecteurs pourront juger par la lettre de M. Berardy que le journal la Lumière aura, comme tous les grands journaux, son correspondant sur le théâtre de la guerre, et que ses relations ne seront pas les moins intéressantes. Espérons que M. Berardy, qui braque son objectif sur les hauteurs d’Alexandrie, aura avant peu beaucoup d’Autrichiens tués sous lui. La Gavinie. (p. 83)]
[(Journalism is the child of war. Voltaire, with other scholars, affirms that it was in Venice, during the war with the Turks, that the first time was published (p. 82) in the streets the dispatches. The people assembled to listen to it being read, and paid for it with a coin of the time called a gazetta. Hence the origin of the gazette; Today the small offices of the marcbandes.de jouuiaux are insufficient, and one sees springing up from all sides, new periodical sheets. The public does not allow itself to be afflicted by other subjects than those relating to our valiant army. He follows it in thought to the gates of Alexandria, where he impatiently awaits the denouement of the drama which Europe will soon judge.
Those who possess a stereoscope and the magnificent prints on Italy by MM. Gaudin brothers can follow, step by step, the glorious path traveled by our troops. — They were able with them to enter Genoa, the city of marble palaces, cross Baibi Street, Annunziala Square, Via Nuovissima, and stop in front of the Carlo Felice Theatre. where the Emperor was watching the show.
The illusion exists to such an extent that, to give, as Edmond Texier did, a description of the city of the Dorias, it was enough to review the proofs that we are reporting, and that amateurs will hasten to go to choose in the shops of the rue de la Perle.
You know, moreover, the large share given during this campaign to photography. She is officially attached to the army. She will bivouac with her, and the objectives will be aimed at the same time as the guns. The Emperor, who on the eve of his departure for Italy honored a photographer’s studio with his “presence”, attached great importance to these documents, which are so precious for history. Before long, therefore, we shall have to leaf through the new war album. Who tells us that Nadar’s balloon, which we have not heard of for several months, does not inflate silently and will not appear one of these mornings above the Austrian camps? Do you see the table? Nadar’s head blooming in the atmosphere, and its objective reproducing in General Giulay’s elongated nose a complete plan of the operations so carefully concealed. A word is attributed to this General Giulay which has not yet been reproduced; he paints the man. Seeing the retrograde marches of the army corps, an officer expressed the thought that it looked like a retreat. “We! to move back! so let’s go! he would have answered, on the contrary, we are leaving because they are not attacking us! But we waited for them until they arrived!…” * * * * Our readers will be able to judge by M. Berardy’s letter that the journal La Lumière will have, like all the great journals, its correspondent in the theater of war, and that his relations will not be the least interesting. Let us hope that Mr. Berardy, who aims his lens at the heights of Alexandria, will soon have many Austrians killed under him. La Gavinie.” (p. 83)]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
“Correspondence: Foreign Science: Photography and War!” PHOTOGRAPHIC NEWS 2:39 (June 3, 1859): 150-151. [“(From our Special Correspondent.) Paris, May 31, 1859. “Photography and War! Such has been the cry for some weeks past in Paris. How odd to see the beautiful and peaceful science of chemistry brought by photography into such near relationship with the horrible art of war! Yet, so it is, at least in France, where, at this moment war is the main topic of the day. One would imagine that even the women of Paris were in a fighting mood, to judge from a brochure just published by Madame Dudevant (Georges Sand), entitled “La Guerre;” but that is not the case. No doubt Georges Sand was simply inspired by the example of Miss Harriet Martineau, who has lately brought out a work called England and her Soldiers. Journalism, say some, is the offspring of war; for, according to Voltaire and some other writers, it was at Venice, during the war with the Turks, that despatches were published for the first time in the streets. The people assembled to hear them read, and paid for the intelligence a small piece of money called gaxtta: hence our word gazette. So, all the French papers teem with news of the war at the present moment, and photographic journals among the others. La Lumiere, a paper which gives now and then a little photographic news, has sent her “own correspondent,” M. Berardy, into Italy. Of course he got pretty well drenched by the incessant rain as soon as he touched Italian shores. If anything in the world is annoying to an enthusiastic photographer, it is bad weather. Clouds make him dull and hypochondriacal, fogs produce serious illness, and perpetual rain kills him outright. M. Berardy, as soon as a few glimpses of the sun had restored him again to life, shouldered his camera, and was immediately overwhelmed by the Italians with questions concerning ”the new instrument of war” he had brought with him — how far it would shoot, and how many men it would kill at a time! The want of supplies of photographic agents keeping him in pretty constant connection with the principal pharmacies of the different places he visited, M. B. was at last looked upon as a doctor in medicine, travelling with some newly invented surgical instruments. And, considered as such, he will, no doubt, be left unmolested, and quietly send up some interesting photographs before long. Those who are fond of the stereoscope, and who possess a series of M. Gaudin’s stereoscopic slides, taken in Italy, would be able to follow the belligerent parties step by step; or, better still, perhaps, with the stereoscopic views of Genoa, Milan, Turin, and the whole of Piedmont and Lombardy, executed very beautifully by M. Ferrier, member of the Société Française de Photographie. We may add that the views taken in Tuscany, Naples, Rome, Venice, &c., by MM. Alinari, Lorent, Naya, Bernard, &c., many of which figure in the present great Exhibition of Photographic Art, of which we have lately spoken, become interesting certainly at the present moment, on account of the unhappy events taking place, or about to take place, in these quarters. Already, some months ago, the artillery officers of the guard of Versailles received photographic apparatus; laboratories have been organised for them in the French camp, and they will have orders to point their camera at the same time as their cannon. We understand that M. Porro, of Paris, the able astronomer and experienced photographer, is about to make known to the French government a new photographical apparatus, especially adapted for the present war. No one could better construct such an instrument, since M. Porro distinguished himself many years ago as colonel of an engineering corps. He will favour us with a description of it in a few days….”]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
La Gavinie. “Chronique.” LA LUMIERE 9:24 (June 11, 1859): 94-95. [“Nos lecteurs nous sauront gré, de faire diversion à nos entretiens ordinaires pour suivra, le mouvement général des esprits, en leur parlant spécialement de la guerre d’Italie. Comment espérer aujourd’hui captiver l’attention par d’autres Nouvelles que celles se rapportant au théâtre glorieux de nos exploits? Du reste, la plupart de nos photographes en renom sont au milieu de nos armées, et c’est sous le feu de l’ennemi qu’ils braquent vaillamment leurs objectifs. Nadar a été appelé au quartier général pour une mission particulière, et peut-être, â l’heure quil est, la photographie représentée par lui plane dans un ballon au-dessus du champ de bataille, pour surprendre et constater les manoeuvres de l’ennemi? Aânsi là courageuse tentative essayée, il y a quelques mois, en plein hippodrome, et traitée de futile par certains esprits forts, trouve.déjà une applicatoii d’une utilité incontestable et peut procurer à son auteur Une récompense à laquelle on applaudira avec nous. Pendant ce temps d’autres disciples de Niepce préparent des albums d’un intérêt incontestable, et grâce auxquels on pourra contrôler, d’une manière officielle, la marche triomphale de nos troupes. Je ne sais si les généraux et les officiers supérieurs qui viennent de succomber si glorieusement dans les combats de Montebello et de Palestro, et dans la bâtaille mémorable de Magenta, avaient déjà posé devant l’objectif; mais j’affirme que le plus grand nombre de nos chefs de corps figure dans la galerie des portraits qui ont pu être recueillis. C’est une mode au camp de se faire photographier. Les Turcos (tirailleurs algériens) y mettent une complaisance rare et à laquelle on était loin de s’attendre. L’un d’eux a voulu être représenté tenant dans ses bras le prisonnier autrichien qu’il avait emporté au milieu de la mêlée. Il l’a déposé devant le photographe étonné, et sa joie a été grande lorsque celui-ci lui a remis l’image désirée. — Un zouave, la veille du conbalde Palestro, se présente sous la tente de Disdéri. — Ami, lui dit-il, ce sera peut-être demain mon tour d’aller monter ma faction dans l’éternité.
— Il me serait agréable d’envoyer avant mon portrait au pays. —- Rien de plus facile, mon brave, répondit l’artiste. Nous allons opérer tout de suite et le portrait sera prêt avant vingt-quatreheures. Le lendemain notre zouave revient chez le photographe, qui lui livre l’épreuve. Il n’en paraît pas enchanté, et, après l’avoir considérée longtemps : sapristi, dit-il, ce n’est plus cela! Que manque-t-il donc? demande Desdéri. — Il n’y manque rien parbleu, au contraire il y a de trop.
— Comment de trop? — Sans doute, vous m’avez mis là les deux mains en évidence! — Eh bien, ne sont-elles pas admirablement bien venues? – Si fait, mais regardez donc, je n’en ai plus qu’une maintenant. En effet, le brave soldat montrait un poignet mutilé.
A la date du 4 juin, voilà ce qu’un photographe, nous écrivait de Trecate, quartier général ce jourlà, de la garde impériale.
“Mon ami, j’ai beau être habile dans mon art, je ne puis encore aussi vite opérer que notre valeureuse armée. A peine ai-je dressé mon objectif sur un champ de bataille, qu’il me faut le transporter sur un autre. C’est le cas où jamais d’écrire à notre Empereur en parodiant l’ode de Boileau: “Sire, cessez de. vaincre, ou je cesse de photographier! » Hier, nous étions à Novarre une heure après les Autrichiens. On accablait de fleurs et de bénédictions nos soldats enthousiasmés par ce chaleureux accueil, qui semblait les délasser de leurs fatigues. Depuis Alexandrie, ils ont traversé successivement Occiniano, Casale et Tri no; à onze heures ils passent le Tessin pour Se Reposer ce soir à Magenta.
“A Trécate, deux paysans ont arrêté mon mulet (le plus entêté des mulets), qui s’était enfui dans les champs, emportant tout mon bagage. Vous pourrez voir avec quelle frayeur ces paysans considéraient mon objectif qu’ils prenaient pour un canon nouveau modèle! Vous pourrez le voir, dis-je, car j’ai trouvé leur attitude si amusante, que je les ai croqués séance tenante!
“Je rapporte dans mes cartons des photographies d’un caractère tout différent et qui pourront servir à (p. 94) un peintre de bataille. Quelques-unes sont datées du cimetière de Montèbello. Ce que je n’ai pu rendre, c’est êmotion que j’éprouvais dans cet asile de la morte on les cadavres étaient dessus et dessous terre, ou les soldàts étaient venus succomber au milieu des horreurs du combat sur des fosses fraîches encore.Triste spectacle, je vous assure, et d’une philosophie profonde! terrible impression qu’adoucissait une pensée! celle de la justice de la cause soutenue par la France! Du reste les bénédictions et les ovations du peuple italien avaient diminué, j’en suis certain, les terreurs de l’agonie de ceux des nôtres, qui étaient venus mourir dans ce lieu funèbre.
Vous ne sauriez croire, en effet, combien nos troupes sont électrisées par les démonstrations si vives des populations qui accourent au-devant d’elles. Femmes, enfants, vieillards, tous s’empressent à leur arrivée. Ce sont des scènes d’effusions continuelles. Voilà les libérateurs! vive les Français! telles sont les acclamations qui les accueillent. Songez que les exactions des Autrichiens sont encore toutes récentes dans le pays que nous parcourons. A Trécate, d’où je vous écris, après avoir prélevé leurs dîmes ordinaires, ils auraient enlevés quelques jolies filles du village, c’est du moins ce qu’affirment les laides. L’une de ces dernières a voulu, non pas se faire enlever par un de nos chasseurs de Vincennes, mais se laisser phothographier dans une attitude qui trahissait pour le guerrier une certaine sympathie. Vous devinez que j’ai bien accueilli cette double bonne fortune. Ce qui arrive plus souvent, ce sont des demandes de double portraits entre nos zouaves et les Bersegliari, qui font un commerce d’amitié et de bravoure digne de leurs victoires. J’ai rencontré hier à Novarre un grand nombre de Parisiens connus.
M. d’Audiger, le chroniqueur de la Patrie, était en compagnie de M. Durand-Brager, le vaillant dessinateur que vous connaissez mieux que moi, et dont le crayon a rendu d’utiles services en Crimée. J’ai vu également, il y a quelques jours, deux autres membres du cercle artistique, MM. Dumarescq et Protais, les peintres de bataille illustrés au salon dernier. En fait de’confrères, je n’ai encore rencontré que Disderi; mais je sais qu’il y en a sur toute la ligne.
“Croyez, comme moi, que la photographie fera ici bravement son devoir.
“En avant! en avant! c’est le cri de toute l’armée, le désir de tous ces soldats, jeunes et forts, dont les pères ont promené dans ce pays le drapeau français.
“En avant! en avant! disent-ils, et rouges grenadiers, et jaunes voltigeurs, et zouaves dorés par le soleil d’Afrique, tous marchent confiants et heureux d’avoir été choisis par la Providence pour rendre la liberté à un peuple qui s’en montre si digne.”
Ma prochaine lettre sera datée de Milan, où les photographes de la ville, s’ils font bien les choses, me préparent une belle réception. La Gavinie.” (p. 95)]
[(Our readers will be grateful to us for dividing our ordinary conversations in order to follow the general movement of minds, by speaking to them especially of the war in Italy. How to hope today cap. attract attention by news other than that relating to the glorious theater of our exploits? Moreover, most of our renowned photographers are in the midst of our armies, and it is under enemy fire that they valiantly direct their lenses. Nadar was called to headquarters for a particular mission, and perhaps, at this time, the photograph represented by him hovers in a balloon above the battlefield, to surprise and observe the maneuvers of the enemy? Thus the courageous attempt attempted a few months ago, in the middle of the racecourse, and treated as futile by certain strong minds, already finds an application of undeniable utility and can procure for its author a reward to which we will applaud with us. During this time, other disciples of Niepce are preparing albums of undeniable interest, thanks to which we will be able to verify, in an official manner, the triumphal march of our troops. I don’t know if the generals and the superior officers who succumbed so gloriously in the fights of Montebello and Palestro, and during the memorable battle of Magenta, had already posed in front of the lens; but I affirm that the greatest number of our commanders figure in the gallery of portraits which have been collected. It’s a fashion at camp to have your photograph taken. The Turcos (Algerian skirmishers) show a rare complacency and which we were far from expecting. One of them wanted to be represented holding in his arms the Austrian prisoner whom he had carried away in the middle of the fray. He placed it in front of the astonished photographer, and his joy was great when the latter handed him the desired image. — A Zouave, on the eve of the conbalde Palestro, presents himself under Disdéri’s tent. ‘Friend,’ he said to him, ‘perhaps tomorrow it will be my turn to go and mount my faction in eternity.
— It would be nice if I could send my portrait home first. “Nothing could be easier, my good fellow,” replied the artist. We will operate immediately and the portrait will be ready within twenty-four hours. The next day our Zouave returns to the photographer, who delivers the print to him. He doesn’t seem enchanted by it, and after having considered it for a long time: Holy shit, he says, it’s not that anymore! So what is missing? asks Desderi. — There’s nothing missing there, on the contrary there’s too much.
– How too much? – No doubt you put both hands in evidence! “Well, didn’t they come admirably well?” – Yes, but look, I only have one now. Indeed, the brave soldier showed a mutilated wrist.
On June 4, this is what a photographer wrote to us from Trecate, the headquarters that day of the Imperial Guard.
“My friend, although I am skilled in my art, I still cannot operate as quickly as our valiant army. No sooner have I set up my lens on one battlefield than I have to transport it to another. It is the case or never to write to our Emperor parodying Boileau’s ode: “Sire, cease. overcome, or I stop photographing! Yesterday we were in Novarre an hour after the Austrians. They overwhelmed our soldiers with flowers and benedictions, who were enthusiastic about this warm welcome, which seemed to relieve them of their fatigue. From Alexandria, they successively crossed Occiniano, Casale and Trino; at eleven o’clock they cross Ticino to rest this evening in Magenta.
At Trécate, two peasants stopped my mule (the most stubborn of mules), who had fled into the fields, carrying off all my luggage. You will be able to see with what fear these peasants considered my lens which they took for a new model cannon! You will be able to see it, I say, because I found their attitude so amusing, that I crunched them right away!
“I bring back in my boxes photographs of an entirely different character which can be used to (p. 94) a battle painter. Some are dated from the Montèbello cemetery. What I could not render is the emotion which I experienced in this asylum of the dead where the corpses were above and below ground, where the soldiers had come to succumb in the midst of the horror of fighting amid the still fresh graves. Sad spectacle, I assure you, and of a profound philosophy! terrible impression softened by a thought! that of the justice of the cause supported by France! could stay. the blessings and ovations of the Italian people had diminished, I am certain, the terrors of the agony of those of ours, who had come to die in this funereal place.
You would not be able to believe, in fact, how electrified our troops are by the lively demonstrations of the people who hasten to meet them. Women, children, old people, all rush to their arrival. These are scenes of continual effusions. These are the liberators! long live the French! such are the acclamations which greet them. Remember that the exactions of the Austrians are still quite recent in the country we are traveling through. In Trécate, from where I am writing to you, after taking their ordinary tithes, they kidnapped some pretty girls from the village, at least that is what the ugly ones claim. One of the latter wanted, not to be kidnapped by one of our Vincennes hunters, but to allow oneself to be photographed in an attitude which betrayed a certain sympathy for the warrior. You guess that I welcomed this double good fortune. What happens more often are requests for double portraits between our Zouaves and the Bersegliari, who trade in friendship and bravery worthy of their victories. I met a large number of well-known Parisians yesterday in Novarre.
M. d’Audiger, the chronicler of La Patrie, was in the company of M. Durand-Brager, the valiant draughtsman whom you know better than I, and whose pencil has rendered useful services in the Crimea. I also saw, a few days ago, two other members of the artistic circle, MM. Dumarescq and Protais, the battle painters illustrated at the last salon. In terms of colleagues, I have only met Disderi so far; but I know there are some down the line.
“Believe, like me, that photography will bravely do its duty here.
“Ahead! ahead! it is the cry of the whole army, the desire of all those soldiers, young and strong, whose fathers carried the French flag through this country.
“Ahead! ahead! they say, and red grenadiers, and yellow voltigeurs, and zouaves gilded by the African sun, all walk confident and happy to have been chosen by Providence to restore freedom to a people who show themselves so worthy of it.
My next letter will be dated from Milan, where the city’s photographers, if they do things well, prepare a fine reception for me. La Gavinie.” (p. 95)]

BY COUNTRY: FRANCE: 1859. (FRANCO-AUSTRIAN WAR)
“Photography at the Seat of War.” PHOTOGRAPHIC NEWS 2:41 (June 17, 1859): 172. [“Nadar has been sent for to head-quarters for a particular mission; and perhaps at the present moment photography, represented by him, floats in a balloon over the field of battle, for the purpose of depicting the manoeuvres of the enemy. Thus the bold attempt made by him some months since in the hippodrome, which was ridiculed at the time by certain strong-minded parties, has been, possibly, applied to an indisputably useful purpose, which may result in its author reaping a reward at which we shall greatly rejoice. At the same time, other of Niepce’s disciples are taking photographs of greater or less interest, and, thanks to these, we can follow the triumphal progress of our troops. We cannot say whether or not the generals and superior officers who died so gloriously in the combats at Montebello, Palestra, or in the great battle of Magenta had their portraits taken previously; but we know that most of the subaltern officers figure largely in the collections of portraits which have been made. It is the fashion to have one’s portrait taken in camp. The Turcos are especially and unexpectedly fond of submitting to the operation. One of them wished to be represented in the act of seizing an Austrian prisoner whom he had managed to get hold of in the night, and was overjoyed when the photographer handed him the desired picture. A Zouave waited on Disderi the evening previous to the fight at Palestra, and addressed him thus: — “Friend, perhaps to-morrow it may be my turn to mount guard in another world; but, previously, I should like to send my portrait to my birthplace.” “Nothing can be more easy, my fine fellow,” replied the artist; “we will operate directly, and the portrait will be ready for you when you call to-morrow.” The next day our Zouave returned, and the portrait was handed to him. He looked at it for some time, but appeared by no means over pleased with it. “Sapristi!” he exclaimed, “that is not like me now.” “What is wanting?” asked Disderi. “Nothing is wanting; on the contrary, there is too much,” replied the Zouave. “How too much?” “No doubt of it, you have represented me with two hands!” “Well, and are they not admirably brought out?” “Yes, indeed, but just look here, I have only one now.” He had had his hand taken off at the wrist. A photographer writes to us, under date the 8th June. At Frecate two peasants stopped my mule as he was taking a run across the fields, with the whole of my apparatus. You should have seen the fright expressed in their faces at the sight of my camera, which they evidently supposed to be a gun of novel construction. Indeed, you may see the expression of their faces, for I was so amused by their attitude, that I took a picture of them there and then. I shall bring back in my portfolio photographs of all kinds, and which would be useful to a painter of battle scenes; some of them are dated from the cemetery at Montebello. That which I could not depict was the emotion I felt in this asylum of the dead, where corpses lay above and below the ground—where the soldiers came from amidst the horrors of the fight to breathe their last on the graves. A mournful spectacle I assure you, and one which was only softened by the reflection that the cause for which they died was a just one. I am convinced, too, that the blessings of the Italian people must have alleviated their last agonies. You cannot conceive the extent to which our troops are electrified by the enthusiastic reception they have met with. We are often requested to make double portraits consisting of one Zouave and a Sardinian rifleman—a great intimacy subsisting between these two corps. I met a good many well-known Parisians yesterday at Novara. Among them were M. Audigen, the correspondent of the Patrie, who was in company of M. Durand Brager, whose pencil rendered such valuable services in the Crimea. As regards photographers, I have only met Disderi; but I know that they are all along the line. You may believe me, photography will do its duty here bravely —La Lumiere.”]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
Lacan, Ernest. “La Photographie et la Guerre.” LA LUMIÈRE 9:25 (June 18, 1859): 97. [“Pendant que nos armées avancent à pas do géant en comptant leurs étapes par des victoires, la photographie, qui s’est mise à leur suite, ne perd pas son temps. Quelques jours à peine après l’entrée en campagne nous avons trouvé chez MM. Gaudin des vues stéoroscopiques représentant l’arrivée de l’empereur à Gênes, le départ des troupes, le campement, et une foule de scènes intéressantes empruntées aux premiers épisodes de la guerre. Pour avoir été faites aussi rapidement et dans des conditions déplorables, car, entre autres obstacles, il ne faut pas oublier que, comme le constatait M. Berardy dans sa spirituelle communication, la pluie n’a cessé pendant plusieurs jours de tomber à torrents, — ces épreuves n’en sont pas moins très-bien réussies. Le succès qu’elles obtiennent n’est pas dû seulement aux sujets émouvants qu’elles reproduisent, l’exécution y est aussi pour quelque chose.
Mais, ainsi que nous l’avons dit en commençant, la photographie ne s’est pas arrêtée là, elle a suivi la route que lui ouvraient nos baïonnettes à travers plaines,collines, rivières, bourgs et faubourgs; elle est aujourd’hui à Milan, demain on ne peut prévoir où elle sera. Toutefois, aussitôt que nous aurons reçu certaines épreuves que nous attendons, nous passerons en revue ce qui a été fait jusqu’ici par nos photographes sur le théâtre de la guerre, et, le stéoroscope en main, nous recommencerons le glorieux voyage que les Français poursuivent en Italie. E. L.”]
[(While our armies are advancing with giant strides, counting their stages by victories, photography, which has followed them, wastes no time. Scarcely a few days after the start of the campaign, we found at MM. Gaudin stereoscopic views representing the arrival of the Emperor in Genoa, the departure of the troops, the encampment, and a host of interesting scenes borrowed from the first episodes of the war. For having been made so quickly and in deplorable conditions, because, among other obstacles, it should not be forgotten that, as noted by Mr. Berardy in his witty communication, the rain did not stop falling in torrents for several days, — these tests are none the less very successful. The success they achieve
But, as we said at the beginning, the photograph did not stop there, it followed the route opened up for it by our bayonets across plains, hills, rivers, towns and suburbs; she is in Milan today, tomorrow we cannot predict where she will be. However, as soon as we have received certain proofs which we expect, we will review what has been done so far by our photographers in the theater of war, and, stereoscope in hand, we will begin again the glorious journey that the French continue in Italy. E L.)]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
La Gavinie. “Chronique.” LA LUMIÈRE 9:25 (June 18, 1859): 99. [“A la baïonnette! tel est le cri de nos fantassins qui préfèrent combattre bravement, poitrine contre poitrine, que d’attendre la mort loin de l’ennemi. A la baïonnette! tel est le cri qui a rempli d’effroi à Mon – tebello, à Palestro, à Magenta, à Marignan, les troupes autrichiennes, et qui a assuré le succès de nos troupes.
Il est donc opportun de donner des renseignements sur cette arme d’origine toute française.
Le Moniteur de l’Armée rappelle que la baïonnette tire son nom de la ville dans laquelle elle fut inventée, Bayonne. C’est en 1611, dans un engagement entre des paysans basques et contrebandiers que cet instrument meurtrier fut trouvé. Après avoir épuisé
leurs munitions, *les Basques imaginèrent d’attacher leurs couteaux au bout de leurs mousquets, et repoussèrent leurs adversaires.
Cet application spontanée d’un instrument encore informe changea entièrement le système de l’art militaire en Europe. La baïonnette fut pour la première fois mise en usage, en France, au régiment des fusiliers du roi, en 1670; en 167û et 1675, d’autres régiments en furent pourvus ; les dragons la reçurent en 1676 ; les grenadiers enl678. A cette époque la baïonnette entrait dans le canon. La douille qui en rend la manoeuvre si facile date de 1688.
La première charge à la baïonnette fut exécutée en 17: 3, à la bataille de Spire, après avoir été employée neuf ansavant cette époque à labataillede Turin. Cet instrument servait si bien l’élan de nos soldats, que le prince de Ligne l’appelait une arme toute française. Il a joué le rôle plus le brillant dans l’histoire de nos campagnes militaires.
Ce fut à la baïonnette que furent emportés les retranchements autrichiens en Italie et les redoutes inaccessibles du mont Cenis et du mont Blanc. Les armées républicaines pensaient avec raison qu’avec la baïonnette elles vaincraient l’Europe coalisée. C’est ce qu’elles firent dans les combats d’Italie; elles gagnaient des victoires sans canons, en Egypte et ailleurs. C’est ce qu’ont fait à notre époque nos soldats à l’Aima et à Malakoff, où la baïonnette a décidé le succès.
Les journaux illustrés ont pu cette semaine nous donner les portraits de MM. les généraux Clere et Espinasse, frappés glorieusement sur le champ de bataille, grâce à des photographies de Disdéri. Le corps du général Espinasse, embaumé par les ordres de l’Empereur, vient d’arriver à Bordeaux, où sa femme et ses jeunes enfants reçoivent de la population les marques de la plus respectueuse sympathie.
Il paraît que le jour de l’entrée à Milan de l’empereur victorieux et de son auguste allié le roi de Sardaigne, le ballon des frères Godard, qui doit être celui que Nadar emploie pour ses intéressantes expériences de photographie, a fait tout à coup explosion. Quelques personnes ont été blessées. Nous attendons des renseignements à ce sujet. Notre correspondant de Milan ne nous parle que de l’enthousiasme général, que des fleurs qui pleuvent sur nos soldats, que des baisers envoyés par de jolies Milanaises au moins Antinous de nos turcos Une telle réception est bien faite pour délasser notre vaillante armée de ses rudes fatigues. Pour parcourir avec intérêt la capitale de la Lombardie, nous n’avons pas besoin de recommander à nos lecteurs les vues stéréoscopiques éditées par la maison Gaudin frères. Les palais grandioses, les arcs de triomphe, les constructions élégantes, le château de la ville, il Castcllo, la Porta Pensa, la place de la Scala, sont autant de reproductions pleines d’à propos. Milan compte près de cent cinquante mille habitants. Ses rues sont larges et spacieuses. Le Cours français est le lieu ordinaire des promenades. Il conduit au jardin public, qui est aussi le rendezvous de la population élégante. La Gavinie.”]
[(Bayonet! such is the cry of our infantrymen who prefer to fight bravely, chest to chest, than to await death far from the enemy. Bayonet! such is the cry which filled the Austrian troops with terror at Montebello, at Palestro, at Magenta, at Marignan, and which assured the success of our troops.
It is therefore appropriate to give information on this weapon of entirely French origin.
Le Moniteur de l’Armée recalls that the bayonet takes its name from the city in which it was invented, Bayonne. It was in 1611, in an engagement between Basque peasants and smugglers that this murderous instrument was found. After having exhausted their ammunition, the Basques devised to attach their knives to the end of their muskets, and repulsed their adversaries.
This spontaneous application of a still formless instrument completely changed the system of military art in Europe. The bayonet was for the first time put into use, in France, in the regiment of the king’s riflemen, in 1670; in 1670 and 1675, other regiments were provided with them; the dragoons received it in 1676; the grenadiers in 1678. At that time the bayonet entered the barrel. The socket that makes it so easy to maneuver dates from 1688.
The first bayonet charge was made in 17:3, at the battle of Speyer, having been employed nine years before that time at the battle of Turin. This instrument served the spirit of our soldiers so well that the Prince de Ligne called it a wholly French weapon. He has played the most brilliant role in the history of our military campaigns.
It was by bayonet that the Austrian intrenchments in Italy and the inaccessible redoubts of Mont Cenis and Mont Blanc were carried. The republican armies rightly thought that with the bayonet they would defeat the united Europe. This is what they did in the battles in Italy; they won victories without guns, in Egypt and elsewhere. This is what our soldiers have done in our time at the Alma and at Malakoff, where the bayonet has decided success.
The illustrated newspapers were able this week to give us the portraits of MM. Generals Clere and Espinasse, gloriously struck on the battlefield, thanks to photographs by Disdéri. The body of General Espinasse, embalmed by the orders of the Emperor, has just arrived at Bordeaux, where his wife and young children are receiving marks of the most respectful sympathy from the population.
It seems that on the day of the entry into Milan of the victorious Emperor and his august ally the King of Sardinia, the Godard brothers’ balloon, which must be the one Nadar uses for his interesting photographic experiments, blow explosion. A few people were injured. We are awaiting information on this. Our Milan correspondent speaks to us only of the general enthusiasm, only of the flowers that rain down on our soldiers, only of the kisses sent by pretty Milanese women, at least Antius of our Turcos. Such a reception is well done to relax our valiant army of its severe fatigue. To explore the capital of Lombardy with interest, we do not need to recommend to our readers the stereoscopic views published by the house of Gaudin frères. The grand palaces, the triumphal arches, the elegant constructions, the castle of the city, il Castillo, the Porta Pensa, the square of La Scala, are so many reproductions full of aptness. Milan has nearly one hundred and fifty thousand inhabitants. Its streets are wide and spacious. The Cours français is the usual place for walks. It leads to the public garden, which is also the meeting place for the elegant population.
La Gavinie.”)]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
J. L. “Photography at the Seat of War.” PHOTOGRAPHIC NEWS 2:42 (June 24, 1859): 183-185. [We have been favoured with the following interesting letter from the seat of war by a correspondent who left England for a continental tour shortly before the active commencement of hostilities.] Casoslroso, May 8. Sir,—Having frequently seen, when in England, letters published in your paper written by photographers in foreign countries, it has occurred to me that you would be glad to receive a letter from a photographer at the seat of war, and I therefore avail myself of this day of rest to write you an account of what I have seen, and a little of what I have done, since I left England. When I left England my intention was to make a tour with the camera in Switzerland, but the exciting prospect of being able to get plates of battle-fields, sieges, and other incidental scenes, induced me to change my course, and, instead of remaining among the glaciers and ice-peaks, to make a journey to the sunny plains of Italy. After mature consideration as to the best way of reaching the scene of action, I decided on purchasing a mule as being likely to be on the whole more economical than hiring one whenever I required its services, especially as there would be a great difficulty in finding such an animal at the seat of war. It took me nearly three days at Martigny to prepare myself for a photographic pilgrimage which I estimated would last three months, during which time there would be very little chance of my being able to remedy any omission I might make at starting. Straps had to be made and fastened on to cases, so as to allow of their being balanced across the mule’s back in such a way as to leave me room to ride when I felt disposed, which I have not the heart to do very often, seeing how he is loaded. I started from Martigny at the end of last month, passed the Great St. Bernard, and, on arriving at Aosta, stayed there for a day to rest. Here I met with an American and a German, both of whom were going to Ivrea, so we decided on travelling together to that place. I need not give you all the details of our journey there, as I did not unpack my apparatus anywhere for the purpose of taking a picture—not because I saw no scene worth taking, but because of the .trouble it would involve. On arriving at Ivrea, I found the people in a state of great excitement. The Austrians had been beaten and driven back on two or three occasions by their troops, and they were sanguine that as soon as the French troops were in sufficient force, they and the Sardinians would drive the Austrians before them like a flock of sheep. I heard the most frightful rumours respecting the brutalities of the invaders, and it was not until I approached the district which they had occupied that I began to doubt the truth of these narratives, they were so circumstantially given. I expected to see the burning ruins of houses, fields laid waste, and villages abandoned by the men who had joined the army to revenge the outrages offered to their women, but I saw none of these things. I found the men going quietly to their work all day, and drinking much and talking loudly at the wineshops all the evening. I saw no despairing Lucretias—no smoking ruins, nor, I must add, many haystacks, or anything else in the way of forage. All the horrors I had heard on first entering Piedmont gradually dwindled away, until on reaching the actual place where they were said to have been committed, I could verify scarcely a single instance of violence having been offered by the Austrians, and I took some pains to ascertain the truth. I don’t mean to say that no case like that stated with respect to the women took place, but I do say that I could not find anybody who could relate any instance of the kind from his own knowledge; and my inquiries were made at the places where all rumours arrive—viz., at the wineshops. Of the truth of one of the rumours I heard at Ivrea, further inquiry convinced me. I allude to the exactions inflicted on the fanners and tradespeople in districts occupied by the Austrians. The same man who replied to my question, with a laugh, if personal violence such as I have alluded to had been offered, burst into a fit of what I have reason to believe was cursing and swearing, when I asked if they had been robbed to any extent. On several occasions I was shown papers which purported to be receipts for hay, or corn, or tobacco, and signed with some undecipherable German name. Some of the holders seemed to entertain the idea that the Austrian government might pay them some day, but such credulity is not common. I conceive the only use of these receipts to be to prove that the holder supplied mitnizione delta bocca to the enemy only in obedience to a requisition. It took me some days to find out in which direction I could proceed with safety, as I had no desire to fall in with a body of Austrians, although I do not suppose they would have captured me, I being an Englishman and a photographer, which I presume would be a sufficient protection in any civilised country. I availed myself of this delay to prepare a few plates by the Taupenot and Fothergill process, both of which processes I had tried in Switzerland, with very similar results; in fact, the advantages and disadvantages of the two processes seem to me so equally balanced that I cannot decide which to adopt. Even as regarded exposure, which, as you are doubtless aware, is always longer at high altitudes in Switzerland than in England, I found that at one time the Taupenot had the advantage, and at another the Fothergill. I have not had an opportunity of printing from either of the plates yet, and, until I do so, I shall not form a decided opinion on either process. I do not intend to adopt the dry process as a rule, as I am afraid to trust to it in cases where no second attempt to take a negative could be made; moreover, it is too slow to be employed where the exposure must only occupy a short time. In reference to the length of exposure, there is one curious circumstance I must mention. I imagined from the purity of the atmosphere here, and the clear bright sun, that a shorter exposure would be sufficient than would be requisite in England, but I found the contrary to be the case. For example, I coated a plate with some collodion which I had brought with me from England, and with which I had obtained an excellent negative of a Martello tower on the heights near Folkestone, with an exposure of five seconds, although the day was not the most favourable possible, yet under the bright clear sun we have here, I was obliged to expose twelve seconds, and even then the negative was rather under exposed. This is a very important fact to be borne in mind, because, in default of knowing it, an important picture might be spoilt, and there might be no possibility of making a second attempt. If I wished to obtain photographs of the people here, I should have no difficulty in obtaining sitters, and I think a photographic travelling van, such as you see in England sometimes, would not want for visitors in the more rural parts of this country. Not that either sex is at all remarkable for beauty, but plain looking people enjoy a peculiar faculty for self-admiration. You cannot conceive what a singular sensation is caused by the consciousness that one is within a few miles of two armies who may at any moment fall upon and butcher each other, for a cause of which nineteen-twentieths of them are profoundly ignorant. The parrot-cry of the liberation of Italy—Italy for the Italians—which is so prevalent among the Italians themselves, is not at all understood by the mass of the French soldiery, if I may judge of the mass by the detachments that have passed through here. They have a vague idea that they are delivering, or are supposed by the Italians themselves to be delivering them, from a grinding tyranny, but they do not appear to have anything like a clear idea of its nature; but the motive which inspires them, and gives them the energy and lightheartedness which they exhibit, is the honour and glory of France, and, of course, Frenchmen. The Austrian soldiery have no such stimulant. They are told to march into a country the inhabitants of which never did them any harm, and to rob and plunder them, and they do it. They can have no desire to kill Sardinians and Frenchmen for the mere sake of compelling the Italians to live under the rule of the Emperor Franz Joseph, still less can they be desirous of shedding their own blood in such a cause. What a satire it is on human nature that the very men who, ten years ago, were in arms to obtain self-government for themselves, are now slaughtering others with the view of forcing upon them the very government which they then fought against. You at home have not a thorough conception of the horrors of warfare, or of the injustice and cruelty it involves. If a man among us chooses to consent to kill or be killed for a mess of pottage, we cannot prevent him, nor is there any great reason perhaps; why we should; he voluntarily selects this method of getting his bread, and we are not unwilling that he should take the consequences; but with the people I am among, and, as you are aware, among all the nations of the continent, the case is totally different. A man may have the greatest horror of shedding blood, but if he is drawn in the Conscription, he must serve. The very family in which I am at present living furnishes an instance of the hardship of such a system. There is an old man who is just able to walk behind a cow and a couple of goats to the field where they get a miserable subsistence from the roots of the grass which was cut and sent to Vercelli in obedience to a requisition of the Austrians; there is an old woman who is almost blind, but whose health is otherwise good, and whose appetite is only too keen considering the small quantity of food she can get; and lastly, there is a girl about thirteen—the child of their old age, and who is consequently deficient in both bodily and mental vigour, but possesses that astonishing likeness to her mother which we only observe in cases where the mother is already advanced in years when the child is born. Six months ago these old people were happy and contented. They had spent their lives in labour, and now that they were old they were supported by the produce of their little farm, cultivated by two strong and healthy sons; but the fatal conscription put an end to their happiness; their two sons were both drawn, and the remainder of the family were reduced from modest poverty to a condition of absolute starvation. My coming to live among them has improved their condition a little; for, though I am anything but a rich man, such provisions as are to be had about here are cheap, the Austrian occupation notwithstanding, and it is no great sacrifice to give up a few luxuries now and then when it is to, give bread to a starving fellow-creature; but I don’t like to think of what may happen to them when I leave, which I must do in the course of a day or two, as it cannot be long before an action will take place between the Austrians and the allies, and painful as it may be, I should not like to miss an opportunity of getting a photograph of a field of battle. In this desire I am not actuated by mere curiosity, though, no doubt, the novelty of exhibiting such a picture at home may have something to do with it, but I should like people to have an illustration before their eyes of what a battle-field is really like, when the excitement of the conflict is past; they might not then perhaps talk so flippantly of war; and endeavour to use their reason in such matters instead of being swayed by their feelings. I will write you again when I have decided on my future movements. J. L.”]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
J. L. “Photography at the Seat of War.” PHOTOGRAPHIC NEWS 2:43 (July 1, 1859): 196-197. [“(from our Own Correspondent.) “Casastroso, May 13. Sir,—I was about to leave here, intending to make my way to Alessandria, when I heard of a great movement among the Austrians in Vercelli; at the same time that I was told by parties of Sardinian and French cavalry who come here from time to time, that they would soon be down in force to attack the enemy, consequently I determined on remaining where I was until something decisive took place. The distance from Casastroso to Vercelli is only about seven English miles, at least; judging by the time it took me to walk near enough to see the people moving about the streets with the aid of a reasonably good opera-glass, I should not think it more. I often see parties of Austrians, sometimes infantry, but generally cavalry, when I am out walking, and I take care to put myself out of their way until they have disappeared; but the Piedmontese do not seem to care for them: I have seen them go on with their work without hardly turning their heads round as the Austrian cavalry went tramping along the road beside them. There is none of that savage enmity between them which characterised the war between the French and Spaniards. It is not to be supposed that the Piedmontese have any partiality for the men who plunder them, that is hardly to be expected; you would be rather surprised yourself if you heard a man who had just had his watch stolen, profess a very lively interest in the welfare of the thief, even though he were one of his own countrymen; but barring these exactions, I don’t think the Piedmontese have much to complain of. Of one thing I feel pretty certain, that if the troops of almost any other country except Austria had invaded Piedmont, the people would have had much greater cause for complaint. As it is, I have heard frequent complaints of the French soldiers having deluded young women from their homes; but no official complaint can be made on this score, as there is no question whatever of violence; the women have acted of their own free will. On the 11th the Austrians sent out detachments of considerable force from Vercelli in this direction, some of whom passed on towards Desana, which is a rather larger place than this, and about two miles distant on the main road. As soon as it was pretty certain that they were coming here, my camera and tent were stowed away in a hiding place prepared for it at the back of an outhouse, where even a Croat would hardly think of looking for anything to take away with him. I walked into the fields smoking a cigar, feeling certain that they would not go out of their way to meddle with a single individual unless they had some special reason for so doing, but in getting out of the frying-pan I tumbled into the fire, for I had not gone very far before I saw a party of Austrians lying under the shade of a cluster of trees. As I had never thought of meeting any of them in this direction I had not kept a look out, and they saw me before I saw them. To go back would have looked suspicious, and there might have been the same objection to have gone direct to them, so I did neither, I turned aside and walked in the direction of Sali. Presently I heard loud shouts, and turning round I became conscious of a number of hands beckoning me to come back; a gesture I thought it prudent, under the circumstances, to obey. As soon as I was within a few yards, an officer stepped forward and addressed me in German. I know a little of this language, but I did not think it advisable to appear to do so, so I answered him in English, which I found he understood perfectly. He asked me some questions, which I answered freely; and ultimately I told him what my intentions were in coming to Piedmont. We parted very good friends after a short conversation, during which he told me he thought my desire to see a battle would be soonest gratified if I remained where I was. All that day I saw troops passing to and from Vercelli, but I fancy that many, if not all, of those who left returned the same evening “bringing their spoil with them.” The troops that continually pass and repass within a short distance prevented me from taking my camera out, as I am afraid they might imagine I had some sinister design against them, and it is even possible they might fancy it to be some new implement of war, and deprive me of it under that impression; but the greatest danger arises from the former reason, from their fancying that I may be taking plans of the Austrian positions in and about Vercelli for the benefit of the Allies. Consequently the time hangs heavily on my hands, in spite of the marchings and counter-marchings. Now and then we are roused by the report of guns at no great distance. Last night I heard reports of heavy guns and got up and dressed myself, and went along a bye-lane leading to the road which runs from Vercelli in the direction of Ivrea, and could distinctly see the flashes of cannon fired from a point I imagined to be about two miles from Vercelli, and pointed in the direction of that place. It did not last long, and no notice was taken of it by the Austrians as far as I could perceive, though a good number of them are camped outside the town. I could see the lights moving about among them, but, considering the distance from which the cannon were fired, none of the balls could have reached them, and the firing most have been out of mere bravado. I have been told this morning that it was a party of Sardinian artillerymen, but, –whether Sardinians or French, they have disappeared for the present. I was interrupted just as I had got thus far in my letter by the arrival of a party of French cavalry in the village. They stopped here to ask the old people some questions, and caught sight of me. As my appearance showed pretty plainly I was not a Piedmontese, the officer, I presume, thought I must be an Austrian, and began to catechise me rather roughly, but the sight of my passport with the visas upon it soon satisfied him. There is a striking difference in the manners of the French and Austrian officers, by no means in favour of the former. The latter were quiet, and though sometimes stern in their mode in speaking, there was no arrogant assumption of superiority such as that which I have observed to characterise the generality of the former, and which is so exceedingly offensive to Englishmen. The Frenchman is polite enough to those whose superiority he cannot dispute, but when it comes to dealing with poor people, the true nature of the man peeped out. I was talking to a priest the other day, and he told me that this assumption of superiority had given great offence to the Sardinian officers, by whom the French officers were very generally disliked. From what I hear from the detachments and the increased frequency with which they appear, I have no doubt that the French and Sardinian troops are collecting in the vicinity in force ; and as the Austrian officers told me, and it is common talk among them, that they will not abandon Vercelli, there can be no doubt that a few days will see a battle fought there, which will certainly be a very bloody one, as the Austrians are in considerable force and have strengthened the place very much with earth-works. I am very much surprised to find how quietly things go on, notwithstanding the excitement -which must naturally exist when we can almost see two hostile armies in presence of each other. From what I had read of war I fancied that everybody must live in fear and trembling who happened to be in the vicinity of an hostile army, and so no doubt your readers imagine, but this is not so. I see the people about me get up at daybreak and go out to their work in the fields, as, I suppose, they always have done, and in the evening they assemble at the wineshop, or form a group where the streets cross in the middle of the village, to talk over the chances of the war. Among these assemblages the women are very conspicuous, not only by their numbers but by their volubility. Their opinions are not of much value, of course, but, I must say, they have a very low estimate of the result to be derived from the Tedeschi being driven out of Italy and curse the war in very energetic though a very barbaric kind of Italian. It would be very strange if it were otherwise; most of them have lost more by the invasion than they can recover for a long time; and it is the nature of man to feel more acutely his own material losses than any imaginary grievances under which men with whom he has no connection may happen to labour. I must confess that I entertain their views to a great extent, although I look upon the war and the results it may lead to with greater knowledge of the subject than they possess. “What,” I have heard them ask, “have we, Sardinians, to do with freeing the Italians? We are overwhelmed with taxes ourselves. We have nothing to gain by war, while we lose everything, even our children. If the Emperor of France wanted to give the Italians liberty, why didn’t he do it himself, without drawing us into the matter? The French say they are more than a match for the Austrians, so they did not want our help.” Such is the kind of language I hear everywhere about here. Possibly it may be different in Turin, where the people are far removed from requisitions and so forth. Before I came here I used to hear it said, and to read in newspapers, that the Sardinians were most enthusiastic on the subject of war; but I suspect now that the enthusiasm was confined to the people about the court, and the press which they inspired. The latter being perhaps the most unprincipled press of any State in Europe; making statements, which it knows to be false, at the bidding of this or that individual. As an illustration of the reliance that may be placed on assertions made by the Turin newspapers, I will just mention a fact which may place your readers on their guard in future. It was stated in the Turin newspapers, and among others, in the Piedmontese Gazette, that Count Cavour’s reception on his return to Turin was of the most enthusiastic kind; that he was publicly serenaded, and that a magnificent procession, with lighted torches, marched to his house, &c. Now, I have been told by a priest and two other persons since I came here, that the whole thing was a farce, and was a most ridiculous affair from beginning to end. These persons assured me they were present and saw it, and I have no doubt whatever that they told me the truth. The fact is, the Turin newspapers are mostly conducted by foreigners, who have their own purposes to serve. All this is not very photographic, is it? but photographers are men, and have the same interest in learning what is going on in the world as others; and if what I have heard be true, that no newspaper correspondents are to be allowed to travel in Piedmont, they will thank me for writing and you for publishing my letters. Besides what I have been told, I can see signs myself of something important being about to take place, the Austrians are hurrying towards Vercelli from different points. J. L.”]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
J. L. “Photography at the Seat of War.” PHOTOGRAPHIC NEWS 2:44 (July 8, 1859): 207-209.
[(Original copy damaged.) “(From our Own Correspondent.) “The priest came in to tell me that the Austrians were in motion, and proposed that we should go together, as he had a brother at Torrione, about whom he was in some alarm, and with whom he proposed we should stay a few days, as we should not be farther away, in the event of a. fight, than if we remained where we were, and would, besides, be in all probability out of the line of march of the troops. I was so tired of the idle life I had been leading, that I gladly accepted his proposal; disinterred my camera and other impedimenta, and packed them on my mule, and found it viciously restive from its long rest in the priest’s stable. I may mention as a rather curious fact, that in all the requisitions made by the Austrians, the priest’s house and property were spared. Whether they acted on the supposition that a priest could have nothing to be deprived of, or on superior orders to respect the clergy, I can’t say, but, certainly, the effect was advantageous as far as I was concerned, for had it been otherwise, I should most assuredly have lost my mule. Having finished strapping on my packs we mounted on our respective animals, and commenced our journey to Torrione. We were a good while on the road, in consequence of being obliged to make a circuitous route so as to avoid passing through Vercelli, and at the same time not to cross the line of troops. There was one advantage attending this, however, which was, that it enabled me to see the condition of the country on three sides of the town, and to judge for myself whether there was any truth in the statements made by the Piedmontese newspapers—for I see these, although I cannot by any possibility meet with an English one—and I am bound to say that it is using too mild a term to say that these statements are gross exaggerations. Some of the fields very close to the town appeared barren of crops, but I could only see them from a distance with my glass, and it is possible that this may not be caused by troops—but farther away the crops looked as flourishing as in any English county, and everything appeared as orderly as in a Yorkshire vale; and little children oiling about in front of the cottages, and, although so talking the mongrel kind of Italian, which they call language, with a fluency which it would have led Mrs. Farlington to hear; and not a single pin visible that an enemy had been or was near. The next day, when it was certain that the Austrians evacuated Vercelli, I, my friend the priest, and his brother, resolved on paying the place a visit. We found streets filled with litter of all sorts: dirty straw, pieces of bottles, broken and otherwise, bits of leather, and garbage abounded; in fact, they were in a very dirty state indeed; a slight aggravation, probably, of their normal condition. A good many of the windows of the houses were broken, and the general appearance of the houses themselves suggested the idea that they had been out on the loose for some time and had not yet recovered ; that they were a kind of architectural prodigals, who had been indulging in riotous living and had become considerably dilapidated in consequence; otherwise, they presented no appearance which would induce me to suppose that they had been recently occupied by a hostile army. As we rode along the street the people who were indoors came out, and those who were lying about on the ground got up and looked at us with great curiosity. I imagine they took me for one of the enemy, and had doubts whether my presence did not indicate their return, for I heard several of them asking questions of the priest as to who I was. The respectable portion of the people were indoors I imagine, for those I saw in the streets were very far from inspiring confidence by their appearance. The faces of the men generally had a dissolute, unsettled expression, and I remarked a peculiar, bold expression in the eyes of the women, which struck me as having been possibly communicated to them from the residence of the troops in the town. We dismounted in an inn yard, which under ordinary circumstances would, I dare say, have been respectable looking enough, but at present had the same disreputable look as the other houses. The landlord was sitting on the step with his hands in his pockets, and puffing away at a fat cigar with all his might, the thing, I suppose, being home-made, and difficult to draw. He was a black-bearded, swarthy fellow, and seemed good-natured and obliging. As soon as we entered his yard he got up and shouted for somebody, and then, with our assistance, put the mules in the stable. While we were in the room I took up a Turin newspaper, and from it I learnt for the first time that at least one English newspaper had got a correspondent with the Austrian army, but the paragraph which conveyed the information was not very gratifying to me as an Englishman ; it began:—”Ecco che abbiamo un inglese, il quale pensa che i poiveri piemontisi non sono abbastanza spogliati dagli Austriaci senza la sua assistenza;” and went on to refer to the said correspondent having taken a private carriage for his own use by force to convey his luggage from Vercelli, and of what he would receive for such an action if he got his deserts, and a good deal more besides. I felt sure when I read it that the charge could not be fairly stated, so I called to the landlord and asked him if he had heard anything about it, and found that the carriage was actually his property, and the account he gave me of the affair threw a very different colour on the transaction. His statement was rather a long one, but in substance it amounted to this:— “That he was asked in the first place to lend the carriage, but fearing that if it left the town with the Austrians there would be very little chance of his seeing it again, he refused ; that, thereupon, it was taken against his will, but was afterwards sent back, together with a very fair price for the hire of it.” Such is the true history of a transaction which may have been translated from the Sardinian papers into the English journals in all its original blackness. We wandered all over the place during the remainder of the day, I marking the places of which I proposed taking a picture, and which were chiefly interesting as memorials of a town which had just been abandoned by the enemy. These negatives, I mention by the way, were almost failures; they are not so bad as to prevent my using them, but the prints will be indifferent; I can detect specks in the deep shadows, and a want of definition in the half-tones. I attribute this to the agitation which the collodion and other chemicals had undergone during the journey, and I am sorry that I did not use the dry plates on this occasion. I am not very strongly attached to the dry process, and would never adopt it while I could use the wet, because I have never been able to obtain as good results by its means as with the wet collodion; but at the same time I can readily believe that the prepared plates have an actual advantage when one wants to take a picture immediately after or during a rapid journey on a mule’s back. A journey by railway does not improve the working properties of collodion, but such travelling is perfect immobility as compared with the trot of a mule ; and on this occasion we had pushed along pretty sharply in spite of the heat, in. consequence of the padre’s anxiety on account of his brother Inzuglio.
I have just returned with my camera and three negatives from Palestro. I had taken five, but a stupid Piedmontese soldier came and lifted up my tent, and thrust his head and shoulders in, knocking down a couple of them which I had stood up to drain, and completing their destruction by laying hold of them with his clumsy paws and rubbing away half the film. I will send you proofs of these as soon as I have an opportunity of printing some. They will not be quite like what I hoped to send you. You will see many dead bodies scattered about among the trees, and many lying side by side ready to be thrown into the hole in which they will be interred as soon as it has been dug, but no bodies of men in actual conflict; I felt it would be absolutely impossible to get near enough to pitch my .camera, though I was myself able to see the fight distinctly from beginning to end. At Torrione the night preceding the battle, nearly everybody was in the street expecting every minute to hear the report of guns, as we knew that the French and Sardinians had got as far as Vercelli in considerable numbers, and also that the Austrians were in the immediate neighbourhood, at the place in which I am concluding this letter among others, and which is not more than four miles from Vercelli. Every now and then one or two would get so impatient that they would walk in the direction of the town to see if they could hear anything of what was going on. I tried to get some sleep, intending to start as soon as it was light to see if there was any sign of a battle being fought, or if the Austrians had continued their retreat. There was no time lost after the sun rose in preparing to get away. I threw my glass over my shoulder, put a piece of bread in my pocket, and was off with the padre, his brother, and four or five others. We took the direction of Palestro, and pursuing our way across the fields, it was not until we had got near it that we approached at all closely the allied troops. We first came upon a strong force of Sardinians marching along the road towards Confienza, and remained standing in the field beside the road until these had passed. The appearance of the men and their bearing were such as to inspire confidence in them. The expression of their faces was resolute and determined, though different. Some were smiling, and stepped out with an air of eagerness, as if they were going to a dance instead of a fight; others seemed deadly pale by comparison with the swarthy faces about them, and these were not the least resolute looking. It sent a thrill through me as they went marching by, entirely silent as regards voices, and giving no sound but the regular tramp, tramp, mixed with the rattling of the scabbards of the cavalry, and the jingling of the accoutrements of the horses. There is something wonderfully impressive in the sound of the marching of a body of armed men, and yet it is not because they are armed, for I afterwards saw bodies of men moving towards each other to engage in actual combat without any similar feeling, but they were at a distance, and I could only see and not hear anything beside the reports of the guns; but to return. As soon as the road was sufficiently clear, we crossed over and continued our way across the fields, regulating our progress by the march of the troops, which we could now see moving towards Palestro in considerable numbers. With my glass I could distinctly see the Austrians in the last-named place, and as it was evident that the battle was to be fought there, we made our way to a little group of tall trees, up which we climbed, perching ourselves on the branches and waiting for the commencement of the slaughter. It was the most exciting time I ever spent in my life. My heart beat at a tremendous rate, not from fear, for there really was nothing to fear beyond the exceedingly improbable event of a shell bursting among us, but there was something terrible in the spectacle of bodies of men preparing to kill each other. The Austrians were the first to begin. I happened to be looking in their direction at the moment and saw the bright flash, and at the same time that I heard the roar of the gun I saw a slight movement among a body of soldiers who were ascending the slope, and then the dirt fly up in little columns behind them until the ball came to a stop in the field. Another report followed, the troops increased their speed, and soon the air was filled with a confused sound of reports of small arms, the booming report of cannon, and the shouting of the men engaged. I was so near that I could see with my glass each individual soldier, but to describe what took place over the whole scene of the fighting is out of my power. My attention was so engrossed on one point or another that I was unable to pay attention to what was passing elsewhere at the same time. There was a large body of Piedmontese, who halted when within a short distance of the Austrians, and fired, and then dashed forward to charge with the bayonet. I could see an officer a little in advance of the foremost rank waving his sword, and his face turned rather towards them, I suppose urging them on, who was struck to the ground as if by a flash of lightning. Another dark-looking figure appeared immediately in his place; the goal was gained, there was a concussion, a confused waving of arms, mingled with rapid flashes from concealed individuals who seemed to be firing among the attacking party, who were forced back in a mass, and retired for some distance; the Austrians following them but a little way and then going back and giving place to the artillery, which re-commenced firing, and the first few balls making a complete line through the mass of troops who were mixed up together in confusion. This was the most painful spectacle that met my eye during the whole of the battle. While they were in actual conflict there was something, stirring and exciting, which made one feel a longing to be among them, but to see men struck, beaten, and torn to pieces when they were in a perfectly helpless condition made my blood run cold. Fortunately this did not last long. A fresh body of troops advanced to the attack as confidently as if nothing had happened to their comrades. There was the same scene, but instead of their following the downward course of those who had preceded them, I could see them pressing closely upon the Austrians in a dense mass. The Austrians held their ground firmly and tried to force them back, but not succeeding they began to give way, very slowly at first, for those behind pressed those in front forward, but gradually the backward movement was communicated to those in the rear, and they receded more and more rapidly before the pressure of the allied troops until they were hidden from my sight by intervening objects. It turn the old tale of the Chinaman — ”Suppose you must come in and we must go out.” Looking to another part of the field, I was surprised a body of Austrians almost close to our post of observers advancing at quick step in the direction of a body of troops, who were facing about, and in two minutes were rushing to meet them at a kind of trot. Several fell on both sides when they came into collision, and were forced into their places; those who had fallen trampled upon by both parties alternately. Some hand fighting ensued, the French fighting with the force of tiger cats, and gradually compelling the retreat, not in a broken and disorderly manner, in a compact mass, which rendered it difficult to do them harm with the bayonet, but rendered them an easy target for the French rifles. The French troops scattered t a little and fired into the retreating Austrians as fast as they could load, apparently without any orders, and fighting the simple principle of doing the enemy as much bad as possible. Two or three times when the French soldiers approached very closely, a portion of the Austrian army turned at bay and drove them back a little, but the moment they resumed their retreat they were harassed anew. As far as I could judge they lost ten times as many in this way as in the actual conflict. It was a horrible sight; the contending parties were so close to me that I could distinguish the cries of the wounded mingled with French oaths, and the rattling sound of the guns as they came in contact. It was during this part of the battle that I and those with .me had a narrow escape of being shot like so many rooks. A thick-headed Sardinian peasant, whose patriotism exceeded his discretion, had managed to get hold of a gun somewhere, and thought it an excellent opportunity of getting a shot at the Tedeschi. He was perched on a branch in the tree next the one in which I was, and had just got the gun to his shoulder when the padre’s brother, who was a little above him in the same tree, caught sight of his operations, and, with an instinctive sense of the danger he was about to bring upon us, gave him a tremendous kick on the side of the head which sent him tumbling from branch to branch almost to the ground. There was a good deal more fighting than that I have endeavoured to describe, but it was not so closely under my eyes, and by slow degrees the firing ceased altogether, and we concluded the battle was at an end. As soon as we descended to the ground, the priest proposed that we should if we could do anything for the wounded, and of course we were all willing to adopt his suggestion; Their groans could have directed us to where they were lying, even if we I not been able to see them. You can form no concept of the sickening sensation I felt when I found myself in the midst of pools of blood, which splashed about at every step spreading a sickening smell in the atmosphere. The bodies of the slain were lying pell-mell among the wounded, very few of whom were able to withdraw themselves from the horrible contact. We moved each in succession, and laid them gently on their backs—the dead, dying, and wounded side by side, leaving them thus until the men who had gone to get some water returned with the patrols who were out collecting the wounded. No time was lost in selecting those who were placed in the ambulance first; they were taken pretty much at random, only those who led actually dying were passed over in favour of those whose wounds seemed slighter. One of those so passed over was, I think an Englishman. He had all the appearance of one, though he was dressed in the Sardinian uniform. I moistened his face with water, and poured some in his mouth, but he had not strength to swallow it. I had him carried down to a tent where the surgeon was operating, who was kind enough to see to him at once, but could do nothing to save him. A bullet had passed through his thigh, severing the artery, and he had bled to death. I did all I could to make his last moments easy by bathing his face with water He had five Napoleons and a few francs in his pocket, and round his neck there was a portrait of an extremely pretty English girl, on the back of which was written, in a female hand, the initials ?? and the date December 14, ’58. J. L. (From the abrupt manner in which this letter concludes, ??? it must have been sent to Turin by some unexpected opportunity. — Ed.)]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
“De l’atmosphère au Point de Vue de l’action Chimique.” LA LUMIÈRE 9:28 (July 9, 1859): 110. [“Dans correspondance adressée du théâtre de la guerre au directeur du Photographic News, nous remarquons le passage suivant: “J’avais pensé, en voyant la pureté de l’atmosphère, en Lombardie et l’intensité de l’illumination solaire, que le temps d’exposition à la lumière des surfaces sensibles, collodion sec et collodicn humide, pourrait être notablement raccourci ; j’ai trouvé qu’il fallait au contraire rallonger. Par exemple, j’ai recouvert une plaque avec un collodion apporté par moi d’Angleterre, qui m’avait donné d’excellents négatifs de la tour Martello, sur les hauteurs qui environnent Folktone après un temps d’exposition de cinq secondes, un jour que le temps était, loin d’être très-favorable. Or, ici ce même collodion, par un brillant soleil, a exigé une pose de douze secondes et l’image obtenue était faible plu;ôt que solai isée. C’est un fait trèsimportant qu’il faut avoir toujours présent à l’esprit, parce que, si on l’oubliait, on pourrait n’avoir que des négatifs imparfaits, incapables de donner de bons positifs d’une scène passagère, que l’on ne sera plus à même de revoir.”]
[“In correspondence addressed from the theater of war to the director of Photographic News, we note the following passage: “I had thought, seeing the purity of the atmosphere in Lombardy and the intensity of the solar illumination, that the time of exposure to light of sensitive surfaces, dry collodion and wet collodion, could be significantly shortened; I found that it was necessary on the contrary to lengthen. For example, I covered a plate with a collodion brought by me from England, which had given me excellent negatives of the Martello tower, on the heights which surround Folktone after an exposure time of five seconds, a day that the weather was far from being very favourable. Now, here this same collodion, by a bright sun, required a twelve-second exposure and the resulting image was dim rather than solitary. This is a very important fact which must always be borne in mind, because if we forgot it, we might only have imperfect negatives, incapable of giving good positives of a passing scene, which we will not be able to see again.”]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
Malakoff. “Closing Scenes of the Italian War.” From Our Own Correspondent. NEW YORK TIMES (NEW YORK, NY) (Sat. July 30, 1859): 1. [“Head Quarters of the Army of Italy, Valeggio, Tuesday, July 5, 1859. (Follows a long, detailed and powerful description of the final days of the war, from the New York Times Paris correspondent, now in the train of the French army in Italy.) “…The Prince arrived the evening before at Valeggio, in his traveling carriage, and stopped at one of the municipal palaces in the main street. As soon as he alighted from his carriage a crowd collected and commenced to gaze in the windows of the carriage at something which appeared unusual. …I approached and discovered that in the front of the carriage and facing the Prince as he sat, were fixed two daguerreotypes, one to the right, that of the Princess Clothilde, the other to the left, that of his father the Prince Jerome, while in the middle there was an ornamented something which might have been a prayer book, a memorandum-book or a tobacco box…”]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
La Gavinie. “Chronique.” LA LUMIÈRE 9:32 (Aug. 6, 1859): 127. [“La photographie est au camp de Saint-Maur, au milieu de nos héros bronzés qu’elle avait accompagné bravement sur le théâtre de leurs exploits. Les scènes animées du camp reproduites chaque jour, viendront avant peu ajouter un attrait de plus aux collections déjà si variées de la maison Gandin frères. Les Tapissières qui ont remplacé aujourd’hui les classiques coucous transportent de la Bastille à Vincennes les bourgeois Parisiens avides de contempler de près les libérateurs de l’Italie et d’entendre le récit de leurs faits d’armes dans ce style pittoresque et imagé qui distingue le troupier français. Les florins et la monnaie autrichienne rapportée par eux d’Italie sont généreusement payés par les Prud’homme du Marais.
Les boutons enlevés aux capotes des tudesques atteignent des prix insensés, certains distribuent des cigarres, du tabac, des liqueurs aux vainqueurs de Magenta et de Solferino. J’ai vu un groupe composé de grenadiers de la garde se partager des épreuves stéréoscopiques et se communiquer le merveilleux instrument que venait de leur offrir un photographe déjà installé au milieu d’eux.
Regarder à leur aise ces lieux témoins de leur glorieux passage, revoir les villes où ils furent reçus par les bénédictions de tous, et jusqu’aux champs de batailles
batailles eurent lieu les héroïques combats, ce n’est pas un spectacle indifférent pour eux.
De tous les corps d’infanterie de ligne qui vont se trouver réunis aux deux camps de Saiut-Maur et de Maisons-Alfort, aucun ne restera, dit-on, à Paris, pour y tenir garnison.
Après le 15 août, ehaque corps sera successivement dirigé sur le dépôt, afin que les hommes, qui n’ont ni tunique ni schakos, soient habillés â neuf, et mis on état de faire le service.
Des renseignements, en partie erronés, ayant été publiés sur les lieux de campement où ont été dirigés les premiers corps revenus de l’armée d’Italie, nous sommes en mesure de les rectifier, dit le Siècle, de la manière suivante :
L’immense plaine, qui s’étend depuis la citadelle de Vincennes jusqu’à SaintMaur, a été divisée par le génie militaire en une multitude de sections séparées par de longues lignes de tentes dressées par les soins de l’administration, et destinées au logement des officiers.
Dans chacune de ces sections doit camper une brigade, et les troupes, en arrivant, établiront ellesmêmes les tentes destinées aux soldats et aux sousofficiers.
Ces tentes, les mêmes que celles qui abritaient notre armée pendant la campagne d’Italie, sont formées par la réunion de six des morceaux de toile que chaque soldat porte sur son sac, de sorte que six hommes s’abritent sous chacune d’elles. D’une forme allongée et basse, elles sont dominées par les tentes d’officiers qui ont un tout autre aspect et dont la forme est conique.
Dès hier, le 1^er régiment de grenadiers et le régiment des zouaves de la garde s’étaient établis dans les sections les plus rapprochées de Vincennes et sous les murs même de la citadelle, tandis que le 30^e de ligne allait planter ses tentes à l’extrémité opposée de la plaine du côté de Saint-Maur.
Aujourd’hui, le 3^e des grenadiers est venu rejoindre ses compagnons de la garde et s’établir à côté d’eux. Le 49^e de ligne, arrivé hier, a été installé dans l’intérieur du fort de Charenton, tandis que le 5^e bataillon de chasseurs campe sur les glacis de ce fort. Un nouveau camp a donc été établi autour duditfort, et le 6^e et le 12^e de ligne, arrivés aujourd’hui, ont pris place à côté du 5^e bataillon de chasseurs.
Pendant ce temps, l’installation du grand camp de cavalerie et d’artillerie, qui doit se développer dans la plaine d’AIfort, sur les bords de la Seine, se poursuit activement. Les tentes d’officiers se dressent et de grands approvisionnements de fourrages et d’avoine sont dirigés de ce côté.
La gaité la plus franche règne dans tous ces campements, et les soldats montrent le plus grand empressement à satisfaire la curiosité des nombreux visiteurs qui leur arrivent à chaque instant. Ils racontent avec une satisfaction que tout le monde comprendra et avec une affabilité qui contraste véritablement avec leurs traits rembrunis, les divers épisodes des combats auxquels ils ont pris part.
Après les scènes sanglantes auxquelles ils ont assisté, cette affabilité, qui est générale, mérite d’être signalée.
Des scènes plus émouvantes encore se succèdent à chaque instant à l’arrivée des familles qui retrouvent des enfants qu’elles avaient pu croire perdus.” “La Gavinie.”]
[(The photograph is in the camp of Saint-Maur, in the midst of our tanned heroes whom it had bravely accompanied to the theater of their exploits. The animated scenes of the camp reproduced every day, will soon add an additional attraction to the already so varied collections of the house of Gandin frères. The Tapissières which have now replaced the classic cuckoo clocks transport from the Bastille to Vincennes the Parisian bourgeois eager to contemplate the liberators of Italy up close and to hear the story of their feats of arms in this picturesque and colorful style which distinguishes the French trooper. The florins and the Austrian currency brought back by them from Italy are generously paid for by the Prud’homme du Marais.
The buttons removed from the greatcoats of the tudesques reach insane prices, some distribute cigars, tobacco, liqueurs to the winners of Magenta and Solferino. I saw a group made up of grenadiers of the guard share stereoscopic prints and communicate to each other the marvelous instrument which a photographer already installed in their midst had just offered them.
Watch at ease these places that witnessed their glorious passage, review the cities where. they were received by the blessings of all, and even on the battlefields, battles took place the heroic combats, it is not an indifferent spectacle for them.
Of all the corps of infantry of the line which will be united at the two camps of Sainte-Maure and Maisons-Alfort, none will remain, it is said, in Paris, to hold a garrison there.
After August 15, each corps will be directed successively to the depot, so that the men, who have neither tunics nor shakos, may be dressed in new clothes, and put in condition to do the service.
Information, partly erroneous, having been published on the places of encampment where the first corps returned from the army of Italy were directed, we are able to rectify them, says the Century, in the following way:
“The immense plain, which extends from the citadel of Vincennes to Saint-Maur, has been divided by military genius into a multitude of sections separated by long lines of tents erected by the administration, and intended to officers’ quarters.
In each of these sections a brigade must encamp, and the troops, on arriving, will themselves set up the tents intended for the soldiers and non-commissioned officers.
These tents, the same as those which sheltered our army during the Italian campaign, are formed by joining together six of the pieces of canvas which each soldier carries on his bag, so that six men take shelter under each of them. . Of an elongated and low shape, they are dominated by the officers’ tents which have a completely different aspect and whose shape is conical.
As of yesterday, the 1^st regiment of grenadiers and the regiment of zouaves of the guard had established themselves in the sections closest to Vincennes and under the very walls of the citadel, while the 30th of the line went to pitch its tents at the opposite end of the plain. near Saint-Maur.
Today, the 3^rd of the grenadiers has come to join his companions of the guard and settle down next to them. The 9^th of the line, which arrived yesterday, has been installed inside the fort of Charenton, while the 5^th battalion of chasseurs is encamped on the glacis of this fort. A new camp has therefore been established around the said fort, and the 6t^h and 12^th of the line, which arrived today, have taken up their places alongside the 5^th battalion of chasseurs.
During this time, the installation of the great cavalry and artillery camp, which was to develop in the plain of Alfort, on the banks of the Seine, was actively pursued. The officers’ tents are erected and large supplies of fodder and oats are directed that way.
The most frank gaiety reigns in all these encampments, and the soldiers show the greatest eagerness to satisfy the curiosity of the numerous visitors who arrive at them every moment. They recount with a satisfaction that everyone will understand, and with an affability which truly contrasts with their darkened features, the various episodes of the combats in which they took part.
After the bloody scenes which they witnessed, this affability, which is general, deserves to be pointed out.
Even more moving scenes follow each other at every moment as the families arrive to find children they might have thought lost.” “La Gavinie.)]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
[Advertisement] “Camp de Saint-Maur au Stéréoscope. Chez Alexis Gaudin et Frère. Paris 9, Rue de la Perle.”
LA LUMIÈRE 9:34 (Aug. 20, 1859): 136.

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
[Advertisement] “Camp de Saint-Maur au Stéréoscope. Chez Alexis Gaudin et Frère. Paris 9, Rue de la Perle.”
LA LUMIÈRE 9:35 (Aug. 27, 1859): 140.

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
Lacan, Ernest. “Le Camp de Saint-Maur au Stéréoscope.” LA LUMIÈRE 9:37 (Sept. 10, 1859): 144. [“MM. Gaudin frères viennent d’éditer une intéressante collection de vues prises au camp de Saint-Maur. Cette vie intime da soldat en campagne, dont le spectacle a attiré de tous les points de la France tant de visiteurs curieux, la photographic la retrace tout entière. Aucune scène de cette existence mouvementée n’a échappe à l’indiscretion de l’objectif. Si vous etes du nombre des privilégiés qui ont pu visiter le camp, vous reconnaitres en considérant ces épreuves que, si longue qu’ait été votre visite, ella était incomplète, et si vous avez dù, vous en rapporter aux récits plus ou moins exacts des journaux ou des voyageurs, vous serez convaincu de Ieur insufflsance, et quand vous serez examine un à un ces tableaux si animés, vous aurez vu mieux et plus que personne sans quitter votre fauteuil.
C’est le matin. Tout commence à s’agiter dans cette vaste plaine transformée en une ville de teutes. Quelques-unes s’élèvent au-dessus des autres ; ce sont les monuments, les palais de toile des officiers. De chaque tente sortent plusieurs troupiers en négligé du matin : une chemise, un pantalon et un bonnet de police. Ou prépare la toilette. Le sac est déposé à terre, à côté des buffleteries, et chacun procède au nettoyage de son fourniment. Quelle activité et quelle coquetterie. Quelques-uns encore mal éveillés et retrouvant au dehors le même lit qu’ils viennent de quitter, c’est>à-dire le sol, s’y étendent de nouveau. Tous écoutent la lecture du journal que fait à haute voix un sous-officier.
Plus loin, c’est la buanderie. Un maigre ruisseau élargi en mare en fait tous les frais. Au bord, une escouade de turcos de corvée, toujours en tenue du matin, les manches relevées et le corps accroupi, sont groupés comme des femmes au lavoir. Les uns savonnent, les autres rincent le linge, ceux-là retendent sur un lit de branches ou sur des cordes tendues pour le laisser sécher. Oh ! les gracieuses lavandières! Oh! les (ailles attrayantes! Oh! les minois charmants! L’eau du ruisseau s’enfuit en toute hâte, honteuse de réfléchir leur diabolique image.
Ici, dans un espace ménagé soigneusement entre les tentes, quatre zouaves, assis à l’orientale et groupés autour d’une large gamelle, préparent la soupe commune. Deux camarades penchés vers eux les regardent faire avec une expression de convoitise bien excusable chez des gaillards taillés de façon à ne pas se nourrir exclusivement de gloire. L’un des cuisiniers taille arlistement la carotte traditionnelle, un autre épeluche gravement l’oignon savoureux, le troisième, un bidon en main, verse avec précaution l’eau que les circonstances ont appris à ménager. Enfin le quatrième dispose le foyer. Tous ont cette gravité qui sied à leurs utiles fonctions.
Maintenant le couvert est mis. L’herbe, un peu courte et un peu sèche, il est vrai, sert de nappe et de siège. — C’est tout économie ! — La cuiller en main, on satisfait l’appétit matériel, tandis que l’esprit se nourrit des souvenirs glorieux de la campagne. On cause gaiement. Une bouteille circule pour entretenir la gaieté. Elle peut se vider, le tonneau est là, et le convive, à cheval dessus, à la manière de Bacchus, paraît décidé à ne point l’abandonner tant qu’il y restera un verre de la généreuse liqueur.
Mais, même au camp et après les fatigues de la lutte, la journée du soldat n’est pas seulement consacrée au repos. Il y a encore l’exercice. Parmi les tableaux qui reproduisent les divers exercices il en est un que nous devons signaler, c’est celui qui représente la défense du drapeau. C’est un groupe plein de mouvement et d’énergie et qu’on ne peut considérer sans une profonde émotion.
Après les exercices viennent les jeux. La maîn chaude est en faveur parmi les troupiers. C’est un délassement qui amuse longtemps et à peu de frais. Et puis il arrive parfois qu’une des visiteuses qui font galerie, paysanne ou bonne d’enfants, veut bien se mettre de la partie ; alors quelle bonne fortune !
Quelques privilégiés ont eu la joie de voir arriver sous la tente, au lieu d’indifférents, la famille qui avait pleuré leur absence et qui pleure encore à leur retour. Alors comme ladite famille était accourue chargée de provisions, on choisissait un endroit où l’herbe était moins sèche ; on y disposait des assiettes et des verres pris à la cantine, on étalait avec orgueil le pâté ou le veau froid flanqué de pains de munition choisis parmi les plus frais et les plus dorés; on faisait asseoir la cousine ou la fiancée sur une chaise obtenue au prix de bien des sacrifices et des démarches ; la mère se faisait un siège du sas filial ou du sol lui-même — les mères sont si peu exigeantes ! — et tout en faisant honneur au repas improvisé on échangeait les souvenirs tendres d’autre fois et les émouvants récits d’hier.
Je n’ai pu décrire qu’un bien petit nombre de ces scènes si variées, mais j’espère toutefois avoir réussi à donner une idée de cette collection qui restera comme une des plus intéressantes que la photographie ait produites. E. L.”]
[(MM. Gaudin brothers have just published an interesting collection of views taken at the Saint-Maur camp. This intimate life of the soldier in the field, the sight of which has attracted so many curious visitors from all parts of France, is fully traced in photography. No scene of this eventful existence has escaped the indiscretion of the lens. If you are one of the privileged few who were able to visit the camp, you will recognize in considering these ordeals that, however long your visit was, it was incomplete, and if you had to rely on the more or less exact accounts of the newspapers or travellers, you will be convinced of their insufficiency, and when you will have examined one by one these tables so animated, you will have seen better and more than anybody without leaving your armchair.
It is morning. Everything begins to stir in this vast plain transformed into a city of teutes. Some rise above the others; these are the monuments, the canvas palaces of the officers. From each tent emerge several troopers in morning negligees: a shirt, trousers and a police cap. Or prepare the toilet. The bag is placed on the ground, next to the leather jackets, and everyone proceeds to clean their kit. What activity and what coquetry. Some still half awake and finding the same bed outside that they had just left, that is to say the ground, lie down there again. Everyone listens to a non-commissioned officer reading the newspaper aloud.
Further on is the laundry room. A meager stream widened into a pond bears the brunt of it. At the edge, a squad of corvée turcos, still in their morning clothes, their sleeves rolled up and their bodies squatting, are grouped together like women in the laundry. Some lather, others rinse the laundry, those hang it on a bed of branches or on stretched ropes to let it dry. Oh! the graceful washerwomen! Oh! the attractive eyes! Oh! the charming faces!
Here, in a carefully arranged space between the tents, four zouaves, seated in the oriental style and grouped around a large bowl, prepare the common soup. Two comrades, leaning over them, watch them with an expression of lust that is very excusable in the case of fellows built in such a way as not to feed exclusively on glory. One of the cooks sharply cuts the traditional carrot, another gravely peels the savory onion, the third, a can in hand, carefully pours the water that circumstances have taught us to spare. Finally the fourth lays out the hearth. All have that gravity which suits their useful functions.
Now the cover is set. The grass, a little short and a little dry, it is true, serves as a tablecloth and a seat. “It’s all economy!” — Spoon in hand, one satisfies the material appetite, while the spirit feeds on the glorious memories of the campaign. We chat cheerfully. A bottle circulates to maintain cheerfulness. It can be emptied, the barrel is there, and the guest, straddling it, like Bacchus, seems determined not to abandon it as long as there remains a glass of the generous liqueur.
But even in camp and after the fatigues of the struggle, the soldier’s day is not only devoted to rest. There is still exercise. Among the tables which reproduce the various exercises there is one which we must point out, it is that which represents the defense of the flag. It’s a group full of movement and energy and that one cannot consider without deep emotion.
After the exercises come the games. The warm hand is in favor among the troopers. It is a relaxation that amuses for a long time and at little cost. And then it sometimes happens that one of the visitors who make a gallery, peasant or nanny, wants to join the party; so what good luck!
Some privileged people had the joy of seeing arrive under the tent, instead of the indifferent, the family who had mourned their absence and who still mourn on their return. Then, as the said family had come running laden with provisions, they chose a place where the grass was less dry; Plates and glasses taken from the canteen were laid out there, pâté or cold veal was proudly spread out, flanked by ammunition loaves chosen from among the freshest and most golden; the cousin or the fiancée was made to sit on a chair obtained at the cost of many sacrifices and efforts; the mother made herself a seat of the filial airlock or of the ground itself—mothers are so undemanding! — and while doing honor to the improvised meal, we exchanged fond memories of other times and moving stories of yesterday.
I have only been able to describe a very small number of these varied scenes, but I nevertheless hope that I have succeeded in giving an idea of this collection which will remain as one of the most interesting that photography has produced. E. L.”)]

BY COUNTRY. FRANCE. 1859. (FRANCO-AUSTRIAN WAR)
La Gavinie. “Chronique.” LA LUMIÈRE 9:37 (Sept. 10, 1859): 147. [“Les représentations des pièces militaires inspirées par la campagne d’Italie ne m’ont point enthousiasmé. — Je n’ai pu me défendre d’un sentiment pénible en voyant des soldats déguisés en Autrichiens ou revêtus du même uniforme qu’ils portaient à Magenta et à Solferino, jouer la parodie de l’émouvant et glorieux poème dont ils ont été les héros. Ces exhibitions,soit à l’hippodrome, soitsur nos théâtres, sont loin de produire sur les masses l’effet salutaire attendu sans nul doute par les auteurs de ce genre de spectacle qui, selon nous, revient de droit auxdioramas et aux barraques de la foire.
Malgré le luxe des décors de la Voie sacrée ou les Etapes de la gloire, pièce de gros calibre du théâtre de la Porte-Saint-Martin, ou fusillades, luttes corps à corps, pôle-mèle comique d’uniformes sardes, français et autrichiens, dévouement des eantinières, cris d’honneur et patrie, rien n’est épargné, je n’en persiste pas moins à la classer comme ses devancières et à la déclarer bonne pour les tréteaux.
J’aime mieux, commodément assis dans mon fauteuil, loin des miasmes dus à la mauvaise ventilation de nos théâtres, suivre à travers un stéréoscope la marche triomphale de nos troupes et les divers épisodes de leurs victoires. —Les épreuves que j’ai en ce moment sous les yeux sont bien autrement intéressantes. Elles font partie de la future collection Gaudin, et justifieront sous tous les rapports la vogue dont elles jouiront bientôt
Celle-ci me transporte à Montebello ; c’est dans le village conquis pied à pied par les nôtres que cette image a été gravée. — Je distingue sut- les maisons les trous faits par les balles, là-bas est le cimetière où la résistance fut opiniâtre, pendant que la foudre, le canon rayé du bon Dieu, comme disent les zouaves,
éclatait au milieu des détonations de l’artillerie. — Dans cette autre épreuve, je vois un groupe de ces fantasques enfants de Mahomet qui sont devenus nos frères d’armes, et dont la bravoure est sans contredit de notre grande famille. Ils sont là une quinzaine de turcos dans des attitudes que Decamps applaudirait. Les uns méditent, les autres dorment. C’est la veillo de Magenta où leur régiment laissa sur le champ de bataille une trace glorieuse de son passage. — Ligne bleue faite par leurs morts, qu’on pouvait distinguer encore aux dernières lueurs de la fameuse journée. — De ces quinze enfants du désert surpris dans leurs poses nonchalantes par l’objectif intelligent de la maison Gaudin, lequel a survécu, lequel a pu revoir le pays de l’émir et la compagne choisie? — Car presque tous sont mariés! — Oui, chère blanche et rose lectrice, ces hommes dont le visage vous effraie ont des fiancées aussi tendres, aussi aimées que vous et dont les yeux ont d’aussi belles larmes que les vôtres. Ils ont pour mères des négresses, des mauresques, mais de vraies mères qui seraient bien émues en reconnaissant sur cette image le portrait du fils vaiuement attendu.
Toute la collection que je vous signale vous intéressera à des titres divers. Voulez-vous prendre sur le fait, au milieu des fatigues de la route ou des embarras des campements, notre troubade victorieux? Voilà des scènes gaies pleines d’humour, les divers jeux des camps, les travertissements des zouaves, les accolades entre Français et bersegliari. Voulez-vous des impressions plus profondes? Regardez ces villages déserts, ces champs couverts de cadavres et sur lesquels pousseront bientôt de nouveaux épis, si bien que les pauvres morts ont aujourd’hui sous la terre le pied des fleurs en leurs Gorps. Voici des transports de prisonniers ou de blessés ; ici ce sont les ambulances. C’est là que les chirurgiens eurent à Solferino une rude besogne. Les membres coupés s’entassaient dans un coin de l’ambulance, et c’était un spectacle atroce que celui de ces bras, de ces jambes sans corps, mêlés et confondus. Ajoutez à cela l’odeur du sang qui prenait à la gorge, et vous aurez une idée d’une des nombreuses horreurs de la guerre. Un fait touchant m’a été raconté par un photographe qui n’a pu m songé à le reproduire. Il en a été Je témoin oculaire. On se rappelle qu’un terrible orage vint interrompre à Solferino le choc des deux armées. Pendant cette suspension d’hostilités un soldat croate était étendu blessé mortellement à côté d’un fusilier français aux épauleltes vertes. Ce dernier essayait de soulever la tête du soldat ennemi qui paraissait en proie à des souffrances intolérables, et de l’autre main il lui montrait le ciel comme pour lui inspirer la foi sereine et lui indiquer sa seule consolation. Ce militaire blessé lui-même, que nous n’aurions jamais remarqué défilant au milieu de sa compagnie, était sublime d’expression et de sentiment en accomplissant cet acte admirable. Ce n’était plus un homme isolé, perdu au milieu de ces hordes sanglantes c’était la personnification de la France elle-même’ généreuse et civilisatrice. L’éclairage du champ dé bataille que sillonnait la foudre, le caractère plein de contraste de la physionomie des deux soldats, tout cela venait ajouter à l’émotion réelle de ce spectacle qu’il était difficile d’oublier apr&j l’avoir vu, même parmi les épisodes de cette mémorable journée. Il y a là, nous le croyens du moins, le sujet d’un tableau émouvant appelé peut-être au succès de l’oeuvre tant applaudie au dernier salon, je veux parler de la Dernière prière, due au talent de M. Protais.
Terminons cette courte revue des épreuves stéréoscopiques de la guerre d’Italie en mentionnant la série comprise sous la dénomination camp de Saint-Maur qui vient heureusement compléter cette collection d’épreuves de choix éditée par MM. Gaudin frères, et dont il sera prochainement rendu un compte plus détaillé dans ce journal. La Gavinie.”]
[(The depictions of military plays inspired by the Italian campaign did not excite me. — I could not help feeling painful when I saw soldiers disguised as Austrians or dressed in the same uniform they wore at Magenta and Solferino, playing the parody of the moving and glorious poem of which they were the heroes. These exhibitions, either at the hippodrome or in our theatres, are far from producing on the masses the salutary effect undoubtedly expected by the authors of this kind of spectacle which, in our opinion, belongs by right to the dioramas and barracks of the fair .
Despite the luxury of the decorations of the Sacred Way or the Steps of Glory, a high-caliber play from the Porte-Saint-Martin theater, or shootings, hand-to-hand fights, comic pole-mixes of Sardinian, French and Austrian uniforms , devotion of the cantinières, cries of honor and country, nothing is spared, I nevertheless persist in classifying it as its predecessors and in declaring it good for the trestles.
I prefer, comfortably seated in my armchair, far from the miasma due to the poor ventilation of our theaters, to follow through a stereoscope the triumphal march of our troops and the various episodes of their victories. “The proofs I have before my eyes at the moment are much more interesting. They are part of the future Gaudin collection, and will justify in all respects the vogue they will soon enjoy.
This transports me to Montebello; it is in the village conquered step by step by ours that this image was engraved. — I can distinguish the holes made by the bullets on the houses, over there is the cemetery where the resistance was stubborn, while the lightning, the rifled cannon of the good God, as the Zouaves say, burst amid the detonations of artillery. — In this other ordeal, I see a group of those fantastic children of Mahomet who have become our brothers in arms, and whose bravery is unquestionably part of our great family. They are there about fifteen turcos in attitudes that Decamps would applaud. Some meditate, others sleep. It is the viello of Magenta where their regiment left on the battlefield a glorious trace of its passage. — Blue line made by their dead, which could still be seen in the last light of the famous day. — Of these fifteen children of the desert surprised in their nonchalant poses by the intelligent lens of the Gaudin house, which one survived, which one was able to see again the country of the emir and the chosen companion? “Because almost all of them are married!” – Yes, dear white and pink reader, these men whose faces frighten you have fiancées as tender, as beloved as you and whose eyes have as beautiful tears as yours. Their mothers are Negresses, Moors, but real mothers who would be very moved to recognize in this image the portrait of the vainly awaited son.
The entire collection that I am pointing out to you will interest you in various ways. Do you want to catch in the act, in the midst of the fatigues of the road or the embarrassments of the encampments, our victorious troubadour? Here are cheerful scenes full of humour, the various camp games, the Zouaves’ trswarnings, the accolades between the French and the Bersegliari. Do you want deeper impressions? Look at these deserted villages, these fields covered with corpses and on which new ears will soon grow, so that the poor dead today have under the ground the foot of flowers in their corps. Here are transports of prisoners or wounded; here are the ambulances. It was there that the surgeons had a tough job at Solferino. The severed limbs piled up in a corner of the ambulance, and it was an atrocious sight, that of these arms, of these legs without body, mixed and confused. Add to that the smell of blood clinging to your throat, and you have an idea of one of the many horrors of war. A touching fact was told to me by a photographer who could not think of reproducing it. He was an eyewitness. It will be remembered that a terrible storm came and interrupted the clash of the two armies at Solferino. During this suspension of hostilities a Croatian soldier lay mortally wounded next to a French fusilier with green epaulettes. The latter tried to lift the head of the enemy soldier who seemed to be in intolerable suffering, and with the other hand he pointed to the sky as if to inspire him with serene faith and indicate his only consolation. This wounded soldier himself, whom we would never have noticed parading in the midst of his company, was sublime in expression and feeling in accomplishing this admirable act. He was no longer an isolated man, lost in the midst of these bloody hordes, he was the personification of France itself, generous and civilizing. The lighting of the battlefield which was furrowed by lightning, the character full of contrast of the physiognomy of the two soldiers, all this added to the real emotion of this spectacle which was difficult to forget. was the personification of France itself, generous and civilizing. The lighting of the battlefield which was furrowed by lightning, the character full of contrast of the physiognomy of the two soldiers, all this added to the real emotion of this spectacle which was difficult to forget. was the personification of France itself, generous and civilizing. The lighting of the battlefield which was furrowed by lightning, the character full of contrast of the physiognomy of the two soldiers, all this added to the real emotion of this spectacle which was difficult to forget after having seen it, even among the episodes of this memorable day. There is there, we believe it at least, the subject of a moving painting called perhaps to the success of the work so much applauded at the last salon, I mean The Last Prayer, due to the talent of M. Protais.
Let us end this short review of the stereoscopic prints of the war in Italy by mentioning the series included under the name Camp de Saint-Maur which fortunately completes this collection of choice prints edited by MM. Gaudin frères, and of which a more detailed account will soon be given in this journal. La Gavinie.”)]

BY COUNTRY. FRANCE. 1860.
Lacan, Ernest. “Foreign Correspondence.” BRITISH JOURNAL OF PHOTOGRAPHY 7:122 (July 16, 1860): 212-213. [This issue of this regular column is concerned with the use of photography by military forces, which they were doing, although primarily for mapmaking and surveying. Mentions a Capt. Laussedat, in the Engineer Corps, French Army, the “War Ministry in Brussels in 1856, Mons. Libois, a staff officer.” A Mons. Riffaut in France at the same time. That Russian and Sardinian officers had trained with Niepce de Saint Victor, etc.]

LAUSSEDAT, CAPTAIN AIMÈ. (1819-1907) (FRANCE)
Laussedat, A. “Photography and Its Applications. On the Employment of Photography in Surveying and Military Reconnoitering.” PHOTOGRAPHIC AND FINE ART JOURNAL 13:8 (Aug. 1860): 226-227. [From Photo. News, in turn from “The Paris Academy of Science.” Capt. Laussedat, apparently in the French military, seems to have been working on this topic since 1851.]

BY COUNTRY. FRANCE. 1860.
Lacan, Ernest. “Foreign Correspondence.” BRITISH JOURNAL OF PHOTOGRAPHY 8:134 (Jan. 15, 1861): 38. [“Paris, January 11, 1860.” “Some months ago I wrote to a friend of mine, belonging to the Expeditionary Corps in China, asking him to communicate to me any information that might be interesting from a photographic point of view. He informed me in his next letter that the stereoscope was in full vogue at Shanghai. The Chinese, whose patience is indefatigable, and who have a mania for imitating everything, had copied with marvellous correctness, he said, the views, whose clearness and delicacy they had so much admired. He added that, speculating on the dissolute morals of the country, European photography had inundated the shops with pictures which were more than light, and that these detestable productions were to be seen, not merely in the sing-songs, but in the flower-boats.
In answer to subsequent inquiries as to the photographers to be found among the French officers, he wrote on the 25th of August: — “Antoine Fauchery, official correspondent of the Moniteur, is also attached to the Photographic Mission of Colonel Dupin, Chief of the Topographic Office Expeditionary Corps. We had also, at the Tche-fou camp, a M. Legrand, a French photographer of Shanghai; but, besides his not being a first-class artist, he has given himself to the liquor trade with the army, and has abandoned the objective for the petit verre.” Thus, according to this information, there are at least three persons on the theatre of war capable of taking views with the camera, without counting our ambassador, Baron Gros, himself a master in the art. I know that in his high official position he has neither the means or the leisure for turning his operative talent to profit. Still, for those who know him as we do, it is a matter of astonishment that he did not secure the services of one of the persons above mentioned for the representation of the eminently curious objects offered by the country which has been traversed by our troops. I know nothing of Colonel Dupin; but I know that Fauchery, of the Moniteur, is a pupil of Nadar, and, consequently, capable of obtaining excellent results. With regard to M. Legrand, I have seen some of his stereoscopic pictures, and, though they are not of the best, they indicate a very sufficient practical knowledge. With these facts before me, I have been unable to understand the regret expressed by General Montauban in his official report of the capture of the Emperor’s summer residence. His words are: — “A volume would be necessary to paint all that I have seen: my greatest regret is, that I had no photographers in the expedition to reproduce that which words are powerless to express.” It is certain that men of art and of science, and all those who appreciate the value of the artistic riches described with so much enthusiasm by the General-in-Chief himself, will regret, as he does, that at least the image of what was scattered or destroyed has not been preserved. Perhaps the leaders of the English expedition were more fortunate or more provident, and so were not reduced to bear testimony to the utility of photography by deploring its absence.]

BY COUNTRY. FRANCE. 1861.
Seely, Charles. “Editorial Miscellany.” AMERICAN JOURNAL OF PHOTOGRAPHY AND THE ALLIED ARTS & SCIENCES n. s. 3:20 (Mar. 15, 1861): 320. [“Louis Napoleon has decided that a movable photographic establishment shall be attached to each regiment in the French army,…”]

BY COUNTRY. FRANCE. 1861.
“Note.” SCIENTIFIC AMERICAN n. s. 4:14 (Apr. 6, 1861): 215. [“Louis Napoleon has decided that a movable photographic establishment shall be attached to every regiment in the French army, under an officer versed in all the details of the art. During battles, their duties will consist of painting blood and thunder with sunlight.”]

BY COUNTRY. FRANCE. 1861.
Lacan, Ernest. “Foreign Correspondence.” BRITISH JOURNAL OF PHOTOGRAPHY 8:140 (Apr. 15, 1861): 153-154. [“…Nothing official has yet been published with respect to the organisation of photographic instruction in the army. The instruction, however, has already begun. Twenty-five officers are going through a course of lessons at the rooms of Disderi, under the direction of that gentleman, who has just communicated to me the paper which he presented to the Minister of War, and which is, in fact, his programme. Here is the substance: —
The materiel of the army photographer should answer to the following requirements: — It should be light, occupy but a small space, be convenient to move and handle, and, lastly, should be of a moderate price.
The stereoscopic apparatus fulfils these various requirements better than any other. The materiel is divided into two portions: — on one side, the apparatus, composed of camera, objective, frames, and pedestal, in a box of 25 centimetres (about 10 inches) each way; on the other side chemical products, funnels, dish, and small utensils, contained in a box of 35 centimetres (about 14 inches). These two boxes, light enough to be carried by a man, could, when necessary, be placed on the back of a mule. The stereoscopic apparatus likewise offers the advantage of supplying several proofs at a time, and of giving the relief of nature. The pictures obtained in campaigning might be amplified at one’s leisure, with the help of the proper apparatus. M. Disderi calculates the price of the equipment necessary for each officer at 400 francs (about £17). He takes his pupils into the various operating-rooms set apart each one for a special operation, so that the instruction may be divided as follows: — 1. A preparatory lesson, giving explanation of the operations. 2. Cleaning of the glass and preliminary lesson. 3. Preparation of the sensitive film, development of the picture, and various labours of the laboratory. 4. Pose, study of lights, and reproduction. 5. Different preparations of positive papers. 6. Printing of positive pictures. 7. Fixing. 8. Retouching and mounting of the pictures. 9. Lessons in photographic chemistry. 10. General work — photographic excursions.
This last part should be done with the officer’s regulation apparatus.
As to the choice of officers, M. Disderi proposes that sub-lieutenants and lieutenants should be preferred, as they can follow the lessons more easily, and be taken from their service with the least inconvenience. They should send a certain number of positive pictures from their cliches for the collection of the ministry, and for the various libraries and museums. Lastly, an annual special exhibition of the works of army photographers should be instituted, and prizes should be awarded for the most meritorious productions.
Such is, in outline, the programme submitted to the Minister of War, though as yet no decision has been officially announced. Of course this plan needs completion. Practical military men will point out the special applications of the photographic art which are most useful for the army, and will add to the plan those details which their experience shows them to be necessary. The pupils who are already at work manifest a zeal and an aptitude which give good promise for the future….” (p. 154)]

BY COUNTRY. FRANCE. 1861.
“Photography in Paris.” HUMPHREY’S JOURNAL OF PHOTOGRAPHY, AND THE ALLIED ARTS AND SCIENCES 13:2 (May 15, 1861): 25-27. [“The Paris correspondent of the Br. Jour, of Phot., writing under a late date, says: — “…Nothing official has yet been published with respect to the organization of photographic instruction in the army. The instruction, however, has already begun. Twenty-five officers are going through a course of lessons at the rooms of Disderi, under the direction of that gentleman, who has just communicated to me the paper which he presented to the Minister of War, and which is, in fact, his programme. Here is the substance: — The materiel of the army photographer should answer to the following requirements: it should be light, occupy but a small space, be convenient to move and handle, and, lastly, should be of a moderate price. The stereoscopic apparatus fulfills these various requirements better than any other. The materiel is divided into two portions: — on one side, the apparatus, composed of camera, objective, frames, and pedestal, in a box of 25 centimetres (about 10 inches) each way; on the other side, chemical products, funnels, dish, and small utensils, contained in a box of 35 centimetres (about 14 inches). These two boxes, light enough to be carried by a man, could, when necessary, be placed on the back of a mule. The stereoscopic apparatus likewise offers the advantage of supplying several proofs at a time, and of giving the relief of nature. The pictures obtained in campaigning might be amplified at one’s leisure, with the help of the proper apparatus. M. Disderi calculates the price of the equipment necessary for each officer at 400 francs (about $85). He takes his pupils into the various operating-rooms set apart each one for a special operation, so that the instruction maybe divided as follows: — 1. A preparatory lesson, giving explanation of the operations. —2. Cleaning of the glass and preliminary lesson. —3. Preparation of the sensitive film, development of the picture, and various labors of the laboratory. — 4. Pose, study of lights, and reproduction. — 5. Different preparations of positive papers. —6. Printing of positive pictures. —7. Fixing. —8. Retouching and mounting of the pictures. —9. Lessons in photographic chemistry. — 10. General work —photographic excursions. This last part should be done with the officer’s regulation apparatus. As to the choice of officers, M. Disderi proposes that sub-lieutenants and lieutenants should be preferred, as they can follow the lessons more easily, and be taken from their service at the least inconvenience. They should send a certain number of positive pictures from their cliches for the collection of the ministry, and for the various libraries and museums. Lastly, an annual special exhibition of the works of army photographers should be instituted, and prizes should be awarded for the most meritorious productions. Such is, in outline, the programme submitted to the Minister of War, though as yet no decision has been officially announced. Of course this plan needs completion. Practical military men will point out the special applications of the photographic art which are most useful for the army, and will add to the plan those details which their experience shows them to be necessary. The pupils who are already at work manifest a zeal and an aptitude which give good promise for the future….”]

MÉHÉDIN. (FRANCE)
Gaudin, Mc.-A. “Quartrieme Exposition de la Société Française de Photographie. Premiere Article.” LA LUMIERE 10:9 (May 15, 1861): 34-35. [“La Société française de photographie a organisé dans le Palais de l’industrie une exposition à la- quelle elle a convié les opérateurs français et ceux dès pays étrangers. Le catalogue imprimé par Mallet Bachelier contient douze cent soixante numéros, comprenant des vues, des portraits et de la nature . morte sur papier, des stéréoscopes, des épreuves au charbon, des gravures héliographiques, des litho- photographies, des grandissements, etc.
L’exposition est établie dans une très-grande salle au premier étage, dont la porte d’entrée est située au sud- ouest de l’édifice, du côté de Chaillot. Il y a deux guichets pour la perception du prix d’entrée, qui est de 50 centimes, l’un à l’entrée de la salle pour les personnes venant du dehors, et l’autre sur l’un des côtés pour les personnes voulant passer de l’ex- position de peinture à celle de photographie.
On est frappé en entrant dans la salle, par les photographies à grandes dimensions exécutées par M. Léon Méhédin, qui a accompli ce grand travail en vertu de missions dont il a été chargé par Sa Majesté l’Empereur, par le ministère de- la guerre et par le ministère d’État.
Campagne d’italie.
En vertu de la première mission, M. Méhédin a exécuté dix-neuf photographies qui retracent les sites rendus célèbres’par la dernière guerre d’Italie: Magenta, Solferino, Melegnano, Villafranca, etc. Ces épreuves présentent de l’intérêt en raison des lieux qu’elles retracent.; mais hors de là, elles n’ont rien de remarquable.
Campagne de Crimée.
Pour le ministère de la guerre M. Méhédin expose quatre grandes épreuves de 0m,35 de hauteur  sur 1 mètre de longueur , tirées sur une seule  feuille de papier, qui représentent la vallée de la Tschernaïa, Balaclava, lé monastère Saint-Georges et Sébâstopol.
Ces épreuves sont très-belles ; celle de la rade de Balaclava surtout, avec ses bateaux à vapeur et ses vaisseaux; elle a dû être prise presque instantanément, malgré ses grandes dimensions, car la fumée des vapeurs et les nuages y figurent” dé façon à produire un tableau imposant. La vue de Sébâstopol ruiné donne bien une idée de ce grand désastre.
Ministère D’état.
Sous ce titre il y a huit grandes épreuves de mêmes dimensions, représentant les grandes pyramides, les ruinés de Karnac, les colosses de Memnon, etc. Ces épreuves avec leur ciel gradué et savamment estompé, vues à grande distance, sont d’un effet magnifique et d’un ton harmonieux.” (Etc., etc.)
[“The French Society of Photography organized an exhibition in the Palais de l’industrie to which it invited French operators and those from foreign countries. The catalog printed by Mallet Bachelier contains twelve hundred and sixty numbers, including views, portraits and nature. still life on paper, stereoscopes, carbon prints, heliographic engravings, lithophotographs, magnifications, etc.
The exhibition is set up in a very large room on the first floor, the entrance door of which is located to the south-west of the building, on the Chaillot side. There are two counters for the collection of the entrance fee, which is 50 cents, one at the entrance of the room for people coming from outside, and the other on one of the sides for people wanting to move from the exhibition of painting to that of photography.
One is struck on entering the room by the large-scale photographs taken by Mr. Léon Méhédin, who accomplished this great work by virtue of the missions entrusted to him by His Majesty the Emperor, by the Ministry of war and by the Ministry of State.
Campaign of Italy.
Under the first mission, M. Méhédin executed nineteen photographs which retrace the sites made famous by the last war in Italy: Magenta, Solferino, Melegnano, Villafranca, etc. These proofs are of interest because of the places they trace.; but beyond that, they are unremarkable.
Crimea Campaign.
For the Ministry of War Mr. Méhédin exhibited four large proofs of 0. 35m in height, over 1 meter in length, drawn on a single sheet of paper, which represent the valley of the Tschernaïa, Balaclava, St. George’s Monastery and Sevastopol.
These proofs are very beautiful; that of the bay of Balaclava especially, with its steamboats and vessels; it must have been taken almost instantaneously, despite its large dimensions, because the smoke from vapors and clouds appear in it to produce an imposing picture. The view of ruined Sevastopol gives a good idea of this great disaster.
Ministry of State.
Under this title there are eight great proofs of the same dimensions representing the great pyramids, the ruins of Karnac, the colossi of Memnon, etc. These prints with their skilfully gradated and shaded sky, seen from a great distance, have a magnificent effect and a harmonious tone.” (Etc., etc.)]

BY COUNTRY. FRANCE. 1861.
“Miscellaneous.” LONDON JOURNAL 34:855 (June 29, 1861): 15. [“Photography is being introduced into the French army as a branch of education.” (This is the entire statement. WSJ)]

BOBIN. (FRANCE)
“Exhibition: The Exhibition of the Photographic Society of Paris, Considered from an English Point of View.” BRITISH JOURNAL OF PHOTOGRAPHY 8:149 (Sept. 2, 1861): 311-312. [“(Communicated.) “This Exhibition is a very important one, not only as regards quantity, but quality. It contains more than thirteen hundred specimens, produced by one hundred and fifty photographers of all countries, those of France naturally forming the large majority. About a hundred and twenty of the exhibitors are French, nine or ten are English, while almost every country in Europe is represented by one or more. Egypt on one hand, and Peru on the other, has each contributed its mite; and the only important country we find totally unrepresented is the United States of America. The Exhibition occupies a corner of the Palais de l’lndustrie, in the Champs Elysees, and, as the present is the season when many Englishmen make trips to Paris, we think it right to notice it somewhat in detail. There are photographers who touch up their proofs — at least so says rumour — and the jury of admission would almost lead one to imagine that some of the aforesaid had, by mistake of course, attached the word untouched to their productions, for at the back of the title-page of the catalogue we find the following useful hint: — “The jury has rigorously caused to be effaced the word untouched from all proofs which are not completely exempt….” * * * * “…A series of maps, amplified and diminished, executed by M. Bobin, photographer attached to the Bureau of the Minister of War, shows how the French government has made use of the photographic art. Amongst the rest we find specimens of enlarged maps of Austria and Sardinia, prepared for the late Italian campaign….”]

BY COUNTRY. FRANCE. 1861.
“To Correspondents. Artist.” FLAG OF OUR UNION 16:37 (Sept. 14, 1861): 4. [“We see it stated that photography is being introduced into the French army as a branch of education.”]

MÉHÉDIN. (FRANCE)
“The Exhibition of the Photographic Society of Paris, Considered from an English Point of View.” BRITISH JOURNAL OF PHOTOGRAPHY 8:150 (Sept. 16, 1861): 331-332 [“(Communicated.)” “(Continued from page 312.)” “Resuming our notes on this important Exhibition at the point where we left off,…” * * * * “…Belonging to the same category are the views in the Crimea, Italy, Egypt, and Nubia, taken by order of the Emperor and of the Minister of State, by M. Léon Méhédin. pictures of places remarkable in the history of the Russian and Italian campaigns will always possess a considerable amount of interest, and the dimensions of the pictures in question and the clearness of their execution greatly increase their value; but the views taken for the French Government in Egypt and Nubia, besides their eternal interest, are very superior as works of art, and show high artistic feeling as well as excellent manipulation. The great Pyramids, the noble ruins of Thebes, Istanbul, and Carnac, the Memnons and the Temple of Philae, are admirably rendered, and the tone and colour of these large works are remarkably happy. The great monuments stand baking in the hot sun, reflected by the glaring sand; and the pink haze hangs as if it were in the place of shadows. It is difficult to image a better rendering of the subjects, and the French Government and M. Méhédin have rendered a true service to art in thus placing in our hands, as it were, pictures of these marvellous works in a setting of their natural atmosphere. It may not be out of place here to give a hint to travelling photographers from another work by the same gentleman to be seen in the same building, namely, a model of one of the obelisks of Luxor, in paper. M. Méhédin conceived the happy idea of taking what is at once both cast and model of this and other works by the simple process of pressing damp sheets of coarse paper on the sculptured bassi-relievi, and leaving them until perfectly dry, when they present all the minutiae of the work in the most faithful manner. By this process he brought home in sheets a facsimile of the obelisk in question, which, being fixed on a frame of light scantling, presented so complete an appearance of stone as to deceive even the most practised eye. These same sheets were set up in Egypt out of doors, and remained so exposed for, we believe, two years, without the slightest apparent injurv; and the inventor proposes to erect similar models in Europe, and says that experience has proved that they will resist the effects of the weather, even in damp climates, for a long period. Whether he be correct in this is a matter for trial; but so far is certain, that any travelling artist will find the process most valuable for bringing home exact copies of bassi-relievi and inscriptions. A moderate-sized box would hold a hundred of these papyro-plastic models, which will bear almost any amount of rough usage, and, in comparison with any other material, weigh literally nothing, while a brush and sponge and water are the only other materials required; and in hot countries the drying of the paper cannot take long….”]

DUPUIS, A. (FRANCE, ITALY)
“Art. VIII. “Recent Progress of Photographic Art.” NORTH BRITISH REVIEW 36:71 (Feb. 1862): 170-203.
[“…The following excellent process has been used with great success by M. Dupuis, Officer of Health to the French Army of Occupation in Rome:—Gun-cotton and iodide of zine, each 1 dram, combined with 80 cubic centilitres of ether, specific gravity 60, and 40 cubic litres of alcohol. M. Dupuis excites the film with a solution of nitrate of silver 10 grammes, acetic acid of commerce 15 grammes, and distilled water 150 grammes; and develops the picture with pyrogallic acid 1 gramme, crystallized citric acid 1 gramme, and distilled water 300 grammes. Plates prepared in this manner by M. Dupuis at Rome, on the 6th May 1857, were brought by Sir David Brewster to London, and developed on the 27th June at the studio of the Stereoscope Company. Some of them had received the picture at Rome, and others were only prepared, and after being kept 51 days they gave very fine pictures….” (p. 175)]

BY COUNTRY. FRANCE. 1862.
“Scraps and Fragments. Photography in France.” BRITISH JOURNAL OF PHOTOGRAPHY 9:176 (Oct. 15, 1862): 396. [“All the regiments of the French army now include both photographers and telegraphists.”]

BY COUNTRY. FRANCE. 1862.
“Scraps and Fragments. Photography and the Military in France.” BRITISH JOURNAL OF PHOTOGRAPHY 9:176 (Oct. 15, 1862): 396. [“Lord Ranelagh, in a recent speech, describing a review of the French troops, said: — It seems that a photographer generally follows the manoeuvres; so the Emperor stood to be photographed. He asked me to join him. He said, ‘You come: you are a volunteer: come and be photographed by my side.’ I need hardly say that I wished to do so; but, unfortunately, the horse I was riding had very much of the English spirit about him, and would not stand still, so I could not join him; but it was his wish that the Emperor of the French should stand side by side with your humble servant.”]

LAUSSEDAT, CAPTAIN AIMÈ. (1819-1907) (FRANCE)
Lacan, Ernest. “Foreign Correspondence.” BRITISH JOURNAL OF PHOTOGRAPHY 10:182 (Jan. 15, 1863): 41. [“Paris, January 12, 1863.”…” * * * * “…The meeting of the French Society of Photography, held on the 9th of January, was occupied, almost entirely, by M. Laussedat’s description of the method by which he applies photography to surveying. This method is very ingenious, and the results placed before the meeting excited deep interest. M. Laussedat urged that landscape photographers should, as far as possible, take views which may afterwards serve for the mapping of the places visited. Doubtless, this would be very advantageous, and would require but little modification in the apparatus employed; but, besides the difficulties presented by the very situation in which the operator is placed perforce, he would, perhaps, be too often obliged to sacrifice the artistic effect of his pictures to the practical utility aimed at….”]

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COUPPIER, JULES. (18??-1860) (FRANCE)

BOOKS

Couppier, Jules., chimiste. Traité Pratique de Photographie sur Verre, d’Apres les Derniers Perfectionnements. Paris: Ch. Chevalier, Puech et Co., Guilloux, 1852. 61 pp.
[Parts from this work are cited, excerpted, and quoted in many manuals of photography, bibliographies, and encyclopedias compiled by the authors Bachelet, Barreswill and Davanne, Bouillet, Disderi, de Latreille, Liebért, La Blanchère and others for at least the next ten or fifteen years. WSJ],

Exposition Universelle de 1855. Commission Impériale. Liste Générale par Ordre Alphabetique des Exposants Inscrits au Catalogue Officiel. Paris: Imprimerie Impériale. 1855. 144 p.
[Alphabetical list of thousands of entrants to this exhibition, with the page number referring to a companion volume describing the actual exhibition. Coppier is listed on p. 31 of this 144 page document. WSJ]
[“                                                                                  Pages.
Coulon. France, no. 4466                                               459
Coulon (A.). France, no. 5161                                         116
Coulon (A.). France , no. 4367                                          98
Coulon (J. B.-L.-J.). France, no. 2460                               59
Coulson (W.). Royaume-Uni, no. 273.                             324
Coumes (J.-A.). France, no. 7                                            3
Coumont (P. et E.). Belgique, no. 463                             283
Couppier (J.). France , no. 9141.                                  192
Couraléau frères. France, no. 8496.                                179
Courmont frères. France, no. 6582.                                464
(Etc., etc.) (p. 31)]

Reports on the Paris Universal Exhibition; 1855. Presented to both Houses of Parliament by Command of Her Majesty. London: Printed by George E. Eyre and William Spottiswoode, Printers to The Queen’s Most Excellent Majesty. For Her Majesty’s Stationery Office. 1856. 3 vol. in 1.
[Multiple authorities wrote different sections of this report. Sir David Brewster wrote the section on “Optical Instruments.”
pp. 277-304.
“On certain Optical and other Instruments.” — By Sir David Brewster, K.H., F.R.S., Vice-President of Jury for Class VIII.
———
To the Right Honourable the Lord Stanley of Alderley, President of the Board of Trade, &c. &c.
St. Leonards College , St. Andrew’s , 8th March 1856.
My Lord, In drawing up a report on certain optical instruments and apparatus exhibited at the Paris Exposition, for the information of your Lordship and the Board of Trade, I labour under a difficulty of having no diagrams to illustrate my descriptions, and of having only that kind of information which is derived from a personal examination of the instruments and articles exhibited. Had drawings and descriptions of these been communicated to the members of the Jury, or published since the adjudication of the medals, I should have been able to speak more confidently of the ingenuity of the exhibitors, and of the value of their labours. The instruments which I propose to describe may be arranged as follows : —.    I. The Telescope.
Reflecting Telescopes.
1. Lord Rosse’s telescope.
2. Mr. Lassell’s telescope.
Achromatic Telescopes.
1. Lerebours’ great telescope.
2. Steinhill’s telescopes.
3. Secretan’s equatorial telescope.
4. Messrs. Chance’s large discs of glass.
5. Daguet’s discs of glass.
II. Achromatic Microscopes.
1. Mr. Ross’s microscopes.
2. Messrs. Smith and Beck’s microscopes.
3. Oberhauser’s and Pillischer’s microscopes.
III. Optical Apparatus for Lighthouses.
IV. Stereoscopes.
V. Kaleidoscopes. (p. 277)
VI. Photographic Cameras.
Vll. Optical Apparatus for Physical Researches.
1. A solar telescope, by Dollond.
2. Arago’s polarimeter, by Duboscq.
3. Lithoscope for distinguishing precious stones.
4. Brunner’s refractometer.
5. Steinhill’s refractometer.
6. Telescope for measuring distances.
7. Herapath’s artificial tourmalines.
8. Varley’s graphic telescope.
9. Duboscq’s polariscope.
10. Arago’s interference refractor.
Vill. Instruments for Scientific Instruction.
1. Duboscq’s regulator of electricity.
2. Nachet’s multocular microscope.
3. Nachet’s binocular microscope.
4. Foucault’s pendulum.
5. Ouviere’s uranoscope.
I. The Telescope.
Of all the machines and instruments of human invention, there is none so remarkable in its theory or so startling in its revelations as the telescope. It enables us to see what would for ever remain invisible. It displays to us the existence of bodies which we can neither see, nor touch, nor taste, nor smell, and it exhibits to us forms and combinations of matter whose very existence even the wildest imagination never ventured to conceive. The improvement of such an instrument has therefore called forth the highest powers of genius, and almost every natural philosopher, from the time of Galileo to that of Lord Rosse, has sought for fame in bringing it to perfection….” (Etc., etc.) (p. 278)
“IV. Stereoscopes.
The fundamental principle of the stereoscope, that in seeing objects in relief we unite the two dissimilar pictures produced by the right and left eye, was known to Galen, Aguilonius, Porta, and others. The first person that seems to have thought of constructing an instrument for uniting two such pictures was Mr. Elliot, of Edinburgh, but he did not publish his invention. Mr. Wheatsone, in 1838, communicated to the Royal Society of London, and was the first to publish, an account of an apparatus called the stereoscope, for uniting two dissimilar pictures, and thus producing solidity or relief. This apparatus consisted of two reflecting mirrors, and is known by the name of the reflecting stereoscope . To another form of the stereoscope invented by myself, and now in universal use, I gave the name of the lenticular stereoscope , from its consisting of half or quarter lenses, which magnified while they combined the dissimilar images. Only one stereoscope, namely a lenticular one, was exhibited at the Crystal Palace of 1851. It was made by M. Duboscq, of Paris (from a model one which I had given him in 1850), and formed part of his fine collection of philosophical instruments.
Although the stereoscope is known principally as an instrument of amusement, it has claims upon science and the arts of no ordinary kind; and the time is not distant when it will be regarded as an indispensable auxiliary in the education of the people.
A great number of stereoscopes, besides the one exhibited by myself, were sent to the Paris Exposition. M. Claudet, Mr. Williams, of Regent Street, M. Duboscq, and Mr. Millet exhibited hexagonal stands with six stereoscopes, which were visited by crowds of spectators. Messrs. Lefort, Queilhe, Lamiche, Warren Thomson, and Dejonge also exhi (p. 292) bited stereoscopes, and MM. Couppier, Moulier, and Soulier produced admirable binocular slides for the instrument.
V. Kaleidoscopes.
Although the kaleidoscope has been long used both in England and on the Continent, for creating patterns for carpets, and for analogous purposes in the decorative arts, it is generally regarded as an instrument of amusement….” (Etc., etc.) (p. 293)]
[This complete essay was reprinted in the Civil Engineer and Architects Journal vol. 20 (1857): 178-184. M. Couppier is cited on p. 181. WSJ]

Annuaire-Almanach du Commerce, de L’industrie, de la Magistrature et de l’Administration, ou Almanach des 500,000 Adresses de Paris, des Départements et des Pays Etrangers (Didot-Bottin) 62 Année de la Publication. 1859. Paris, 14 Chez Firmin Didot Frères, Fils et Ce, Imprimeurs-Libraires de L’institut, Rue Jacob, 56.
[Directory-almanac of the commerce of the industry of the judiciary and the administration, or, Almanac of the 1,500,000 addresses of Paris, the departments, the colonies and foreign countries., 1859.
[“Liste Générale des Adresses de Paris, et des Principaux Établissements de Cette Capitale., 1859.”
“…COU…
Coupon (Joseph), statuaire, Varennes, 80.
Couppé jeune, doreur et argenteur sur métaux, Neuve-Saint-Merri, 42.
Couppier; (J.), chimiste-photographe, Contrescarpe-St-Marcel, 21.
Coupry, avocat, Faub.-Poissonnière, 6.
Coupvent, maçon., Coutures-St-Gervais, 6.….” (Etc., etc.) (p. 174)
—————————————
Liste Général des Adresses de Paris. Classées par Order Alphabétique de Rues et par numéros de Maisons. 1859. »
“Contrescarpe-St-Marcel.”
1 Tessier (F.), serrurier
3 Lemaire,
Olivier, vins.
Péguillet, propriét.
4 Moreau, tourneur en bois.
6 Gaubert, men. en båt.
7 Buhot, ferblantier-zing.
Riedling (Mme), sage-femme.
9 Aubourg, boulanger.
Couppier; (J.), chimistephotographe.
Perraud, vins.
12 Legorgeu, vannier.
14 Nanteuille père….” (Etc., etc.) (p. 32)]

Valicourt, Edmund de. Nouveau manuel complet de photographie sur métal, sur papier et sur verre; précédé d’un résumé historique et critique sur l’origine et les progrès de la photographie. Paris: Roret, 1862. Nouv. éd. 2 vol.
[“Troisieme Partie. Chapitre Premier: Du choix et de la préparation des glaces.”
“…(1) Dans tout ce qui va suivre, nous nous sommes efforcé de concilier et de réunir Loutes les prescriptions utiles données par M. Couppier;, celles de M. Sella, et le excellentes indications de M. Fortier, dont tout le monde reconnaît l’habileté hors ligne comme photographe albuministe, ” …(p. 94)
“……On laisse reposer quelques heures lo liquide pour le bien clarifier, et l’on en prend ensuite avec une pipette la quantité dont on a besoin. On remarquera que les formules d’albumine photographique de MM. Fortier et Couppier;, rapportées dans la huittème partie de notre ouvrage, ne contiennent aucune trace de substance mucilagineuse….” (p. 100)
“…Nous verrons plus loin comment il faut s’y prendre pour faire sécher la glace albuminée, quand nous aurons décriv les autres manières d’étendre l’albumine. La méthode indiquée par M. Couppier; est un peu plus compliquée que la précédente, et nous ne pensons pas qu’elle donne de meilleurs résultats. Elle repose principalement sur l’emploi d’un mandrin en bois sur lequel on fixe la glace avant l’albuminage, et qui lui sert en quelque sorte de manche pour lui imprimer au besoin un mouvement de rotation horizontale, comme nous le verrons tout-à-l’heure. … (p. 103)
“…Quant aux appareils dout on se sert pour faire sécher les glaces albuminées, l’un d’eux consiste en une sorte de boîte ouverte par les deux bouts et munie de coulisses horizontales dans lesquelles on ingère les feuilles de verre à une distance de 5 à 6 centimètres les unes des autres; on peut, pour hâter la dessiccation, interealer entre elles des planchettes mobiles en bois qui glissent également dans les coulisses et qu’on peut faire chauffer. Ce système recommandé par M. Couppier; n’est pas sans inconvénient, et l’on peut craindre avec raison que dans les diverses manœuvres nécessaires pour insérer les glaces ou les planchettes dans les rainures, il ne se produise de la poussière, quelquefois même des éraillures sur la couche albumineuse. ….” (p. 106)

PERIODICALS

1852

Couppier, Jules, Chimist. “Traité Pratique de Photographie sur Verre.*” LA LUMIERE 2:40 (Feb. 28, 1852)): 38.
[“*Che Guilloux, passage de l”Industrie  no. 7, etc.”
“Nous avons sous les yeux le livre de M. Couppier; et nous devons rendre celle justice â Fauteur que la rédaction et les divisions méthodiques de cet ouvrage laissent peu de chose à désirer. Il est à regretter que nous n’ayons vu (el le public sera sans doule de notre avis) aucune épreuve de M. Couppier; car rien ne démontrerait mieux le mérite réel de celle brochure el la valeur des renseignements qu’elle renferme , que les résultats mêmes obtenus par l’auteur aumoyen de sa doctrine.
L’introduction est d’une clarté digne d’éloges, el ce n’est pas faire une critique que de regretter son trop peu d’étendue. En effet, on ne saurait assez prodiguer les détails quand il s’agit de ces manipulations si délicates, si subtiles, donlun de nos célèbres chimistes a dit qu’elles étaient les plus difficiles de toute la chimie. Nous dirons môme qu’en lisant celle phrase, que nous extrairons tout entière du livre de M. Couppier (chap. 1er § 1): “La préparation de l’albumine photogénique est sans contredit la plus simple des operations”, un habile photographe de nos amis s’esl donné le plaisir de décrire tous les écucilsqucl’on peut rencontrer dans cette préparation, el examen minutieux, mais d’une réelle importance pour la réussite des épreuves , a produit deux pages d’écriture serrée. Il est évident que si celle méthode explicative était continuée pour le livre lout entier, les 61 pages de M. Couppier, contenant en moyenne 25 lignes chacune, produiraient 1525 pages, soit trois gros volumes de 500 pages. Assurément nous ne conseillerions pas a l’auteur de prendre un semblable parti, mais nous croyons rendre hommage à l’utilité des renseignements el des communications intéressantes dont la photographie lui est, redevable, en exprimant le regret qu’il ne leur ait pas donné plus d’étendue.”]
[“We have before us M. Couppier ‘s book; and we must do this justice to the author that the methodical editing and divisions of this work leave little to be desired. It is to be regretted that we have not seen (and the public will undoubtedly be of our opinion) any proof of Mr. Couppier; for nothing would better demonstrate the real merit of this pamphlet, and the value of the information it contains, than the very results obtained by the author by means of his doctrine.
The introduction is of a clarity worthy of praise, and it is not making a criticism to regret that it is too short. Indeed, one cannot lavish enough detail when it is a question of those manipulations so delicate, so subtle, which one of our famous chemists said were the most difficult in all chemistry. We will even say that by reading this sentence, which we will extract entirely from M. Couppier’s book (chap. 1st): “The preparation of photogenic albumin is without a doubt the simplest of operations”, a skilful photographer of our friends took the pleasure of describing all the pitfalls that can be encountered in this preparation, and careful scrutiny, but of real importance to passing the proofs, produced two pages of tight writing. It is obvious that if this explanatory method were continued for the whole book, the 61 pages of Mr. Couppier, containing on average 25 lines each, would produce 1525 pages, that is to say three large volumes of 500 pages. Certainly we would not advise the author to take such a course, but we believe we are paying homage to the usefulness of the information and the interesting communications for which photography is indebted to him, by expressing the regret that he did not give them more scope.”)]

“Photographe.” COSMOS: REVUE ENCYCLOPÉDIQUE HEBDOMADAIRE DES PROGRES DES SCIENCES. Vol. 1 (May 9, 1852): 25-30. [“…En parlant du stéréoscope, M. Lerebours disait tout récemment: “Le stéréoscope a obtenu en Angleterre un succès incroyable; espérons qu’en France ce curieux et amusant instrument ne sera pas mis en oubli.” Cette phrase nous attriste quelque peu, parce qu’elle contredit par trop les faits. M. Lerebours peut-il ignorer que c’est la France qui a fait en Angleterre même le succès du stéréoscope; que les innombrables appareils et les épreuves stéréoscopiques plus innombrables encore, vendus à Londres sont en très-grande partie d’origine française. Nous maintenons plus que jamais ce passage de notre dernier article: « Depuis le jour où il est entré pour en sortir habilement perfectionné dans les ateliers de M. Jules Duboscq, le stéréoscope a conquis la France, l’Angleterre, l’Allemagne. Autant il fut autrefois méconnu et dédaigné (même dans sa mère patrie), lorsqu’il ne s’était pas fait naturaliser français, autant il est aujourd’hui recherché et populaire. » Les stéréoscopes et les épreuves stéréoscopiques ne se confectionnent pas seulement à Paris; ils s’y vendent aussi, grâce à Dieu, quoiqu’ils soient un de ces objets de luxe dont la modicité des fortunes en France rend l’acquisition plus difficile. Nous trouvons encore que les épithètes de charmant et curieux sont par trop enfantines, quand il est question d’un appareil qui centuple les forces de la photographie. Dans quelques jours, quand il nous sera donné de révéler un noble secret qui nous est confié, M. Lerebours saura mieux l’avenir que la France prépare au stéréoscope, qui n’est encore qu’à son berceau. Enfin, en terminant, nous recommanderons aux photographes de se procurer, de lire et de pratiquer le petit traité de photographie sur verre de M. Couppier. Tous ceux qui, jusqu’ici, avaient complétement ou presque complétement échoué dans l’opération si délicate de l’albuminage des plaques de verre, ont parfaitement réussi en répétant à la lettre les manipulations de M. Couppier. Nous sommes pleinement….” (p. 29) autorisés à faire à cette brochure les plus larges emprunts, mais en usant de ce droit nous nuirions certainement aux intérêts de M. Couppier sans utilité réelle pour nos lecteurs, qui n’atteindront le but qu’en suivant pas à pas les prescriptions de l’auteur: il nous a promis d’ailleurs de faire une très-grande remise, une remise de deux francs sur les exemplaires de sa brochure qui seront vendus désormais, et que l’on trouvera chez MM. Charles Chevalier, Puech et J. Duboscq….” (p. 30)]
[(…Speaking of the stereoscope, M. Lerebours said quite recently: “The stereoscope has obtained an incredible success in England; let’s hope that in France this curious and amusing instrument will not be forgotten.” This sentence saddens us somewhat, because it contradicts the facts too much. Can M. Lerebours ignore that it is France which has made the success of the stereoscope in England itself; that the innumerable apparatus and still more innumerable stereoscopic proofs sold in London are very largely of French origin. We maintain more than ever this passage from our last article: “Since the day it entered to emerge skillfully perfected in the workshops of Mr. Jules Duboscq, the stereoscope has conquered France, England and Germany. As much as he was once misunderstood and despised (even in his mother country), when he had not become naturalized French, he is now sought after and popular. » Stereoscopes and stereoscopic proofs are not made only in Paris; they are also sold there, thank God, although they are one of those luxuries which the modesty of fortunes in France renders the acquisition more difficult. We still find that the epithets of charming and curious are too childish, when it comes to a device that multiplies the forces of photography. In a few days, when it will be given to us to reveal a noble secret entrusted to us, Mr. Lerebours will know better the future that France is preparing for the stereoscope, which is still only in its cradle. Finally, in closing, we will recommend that photographers obtain, read and practice the little treatise on photography on glass by Mr. Couppier. All those who, up to now, had completely or almost completely failed in the delicate operation of the albuminization of the glass plates, have succeeded perfectly by repeating M. Couppier’s manipulations to the letter. We are fully (p. 30) authorized to make the broadest borrowings from this brochure, but by using this right we would certainly harm the interests of Mr. Couppier without any real utility for our readers, who will only reach the goal by following the instructions step by step of the author: he has promised us moreover to make a very large discount, a discount of two francs on the copies of his pamphlet which will henceforth be sold, and which we will find at MM. Charles Chevalier, Puech and J. Duboscq….” (p. 30)]

1853

“Note.” LA LUMIERE 3:39 (Sept. 24, 1853): 155. [“MM. les abonnés de Paris qui désireraient avoir les brochures de MM. Leborgne, Disdéri, Le Gray, de Rrébisson, Bertsch, M.-A. Gaudin, Couppier, Blanquart-Evrard, Vaillat, pourront se les procurer à la Librairie nouvelle, où l’administration de la Lumiere en a l’ait déposer un certain nombre d’exemplaires.
[(“MM. Paris subscribers who would like to have the pamphlets of MM. Leborgne, Disdéri, Le Gray, de Rrébisson, Bertsch, M.-A. Gaudin, Couppier, Blanquart-Evrard, Vaillat, will be able to obtain them at the Librairie Nouvelle, where the administration of La Lumiere has deposited a certain number of copies.”)]

“Épreuves Stéréoscopiques.”LA LUMIERE 3:52 (Dec. 24, 1853): 208. [“Nous avons vu récemment des épreuves stéréoscopiques sur verre d’un effet charmant et d’une réussite parfaite. Elles sont de deux artistes de talent, MM. Couppier et Jennel. Celles que nous avons le plus remarquées sont: Versailles, la Pièce d’eau des Dragons, l’Arc de Triomphe de l’Étoile, le Pont-Neuf, le pont Notre-Dame, l’Abreuvoir de Montmartre, de M. Couppier ; et la place de la Concorde, Saint-Euslache, la place de la Bourse, le Panthéon et Noire-Dame, de M. Jeanel.”]
[“Stereoscopic Prints.”
We have recently seen stereoscopic prints on glass with a charming effect and a perfect success. They are by two talented artists, MM. Couppier and Jennel. Those we have noticed the most are: Versailles, the Piece of Water of the Dragons, the Arc de Triomphe de l’Etoile, the Pont-Neuf, the Pont Notre-Dame, the Abreuvoir de Montmartre, by M. Couppier; and the Place de la Concorde, Saint-Euslache, the Place de la Bourse, the Panthéon and Noire-Dame, by M. Jeanel.”]

1854

[Advertisement] “On trouve, au bureau du Journal, les brochures ci-dessous désignées.” LA LUMIERE. 4:25 (June 24, 1854): n. p. (back cover?)
[“M.-A. Gaudin. Traité pratique de Photographie. 1844.— Prix, 3 fr.
Lerebours et Secretan. Traité de Photographie. 1846.—Prix,3 fr.
Vaillat. Renseignement consciencieux (Daguerréotype sur plaque). 1850. Prix, 2 f. 50.
Baron Gros. Quelques Notes sur la Photographie sur plaque. 1850. Prix, 3 fr.
Blanquart-Evrard. Traité de Photographie sur papier. 1851.Prix, 4fr. 50
J. Couppier. Photographie sur verre (albumine). 1852. Prix, 3 fr.
Baldus. Concours de Photographie. 1852. Prix, 3 f.
M.-A. Gaudin. Résumé général du Daguerréotype. 1852. Prix, 2 fr. 50
A. Bertsch. Notice sur l’emploi du collodion rapide. 1852. Prix, 3 fr.
Legros. Photographie sur collodion. 1852.Prix,2f.
Photographie sur plaque. 1852. Prix, 4f.50
Photographie sur papier. 1852. Prix, 6 f. 75
De Brébisson. Nouvelle Méthode photographique sur collodion, 1853. Prix, 4 fr.
De Valicourt. Manuel de Photographie. Prix, 3 fr. 50
Disderi. Manuel opératoire de Photographie sur collodion. Prix, 4 fr.
Claudet. Du Stéréoscope. 1853. Prix, 2 fr. 50
Leborgne. Epreuves positives directes sur toile, elc. 1853. Prix, 3 fr. I
Dr. A. Boulongne. Photographie et Gravure héliographique.1854. Prix, 2 fr.
Barreswill et Davanne. Chimie Photographique. 1854. Prix, 5 fr.
Hardy. Méthode pour opérer sur plaque, verre et papier. 1854. Prix. 4 fr.
Emile Godard. A, B, C de la Photographie. 1854. Prix, 1 fr. 50
Dr J. Fau. Douze Leçons de Photographie. 1854. Prix, 3 fr.
A. Belloc. Traité de Photographie sur collodion.1854. Prix, 5 fr.
Legray. Traité de Photographie sur papier et verre. 1854. Prix, 5 fr.
De La Sor et Texier. Trailé complet de Photographie. 1854. Prix, 5 fr.
Les auteurs ou éditeurs des ouvrages qui ne figureraient pas dans la nomenclature ci-dessus sont priés de les adresser à la Direction, qui en acceptera le dépôt. Nota.—Envoyer en payement des timbres ou bons de poste, les brochures ne pouvant s’expédier contre remboursement.”]
[([Advertisement.] One finds, at the office of the Journal, the brochures designated below:
M-A. Gaudin. Practical Treatise of Photography. 1844.— Price, 3 Fr.
Lerebours and Secretan. Treatise of Photography. 1846.—Price, 3 fr.
Vaillat. Conscientious Intelligence (Daguerreotype on plate). 1850. Price, 2 f. 50.
Baron Gros. Some Notes on Photography on plaque. 1850. Price, 3 fr.
Blanquart-Evrard. Treatise of Photography on paper. 1851. Price, 4fr. 50
J. Couppier. Photograph on glass (albumin). 1852. Price, 3 fr.
Baldus. Photography Contest. 1852. Price, 3f.
M-A. Gaudin. General summary of the Daguerreotype. 1852. Price, 2 fr. 50
A. Bertsch. Note on the use of fast collodion. 1852. Price, 3 fr.
Legros. Photography on collodion. 1852.Price,2f.
Photograph on plate. 1852. Price, 4f.50
Photograph on paper. 1852. Price, 6 f. 75
De Brebisson. New Photographic Method on Collodion 1853. Price, 4 fr.
De Valicourt. Handbook of Photography. Price, 3 fr. 50
Disderi. Photography operating manual on Collodion. Price, 4 fr.
Claudet. From the Stereoscope. 1853. Price, 2 fr. 50
Leborgne. Direct positive prints on canvas, etc. 1853. Price, 3 fr.
Dr. A. Boulongne. Photography and Heliographic Engraving. 1854. Price, 2 fr.
Barreswill and Davanne. Photographic Chemistry. 1854. Price, 5 fr.
Hardy. Method for working on plate, glass and paper. 1854. Price. 4 fr.
Emile Godard. A, B, C of Photography. 1854. Price, 1 fr. 50
Dr J. Fau. Twelve Lessons in Photography. 1854. Price, 3 fr.
A. Belloc. Treatise on Collodion Photography. 1854. Price, 5 fr.
Legray. Treaty of Photography on paper and glass. 1854. Price, 5 fr.
De La Sor et Texier. Full Treatise of Photography. 1854. Price, 5 fr.
Authors or publishers of works that do not appear in the list above are requested to send them to the Direction, which will accept their deposit. Note.—Send in payment of stamps or postage notes, brochures cannot be sent COD.”)]

1855

“Liste des Premiers Fondateurs de la Société Francaise de Photographie.” BULLETIN DE LA SOCIÉTÉ FRANÇAISE DE PHOTOGRAPHIE vol. 1 (Jan. 1855): 23.
[C^te. Aguado (Olympe).
Avril (Félix).
Bayard.
Bayle-Mouillard.
De la Baume (Henri).
Becquerel (Edmond).
Belloc.
Béranger (E.).
Bertsch.
Bilezikdji (P. A.).
Bilordeaux.
Bisson ainé.
Bisson jeune.
Blanquart-Evrard.
De Brébisson.
Brooke-Greville.
Casthelaz.
Chevalier (Charles).
Clément (Jules).
Couppier (Jules).
Cousin.
Davanne.
Defond.
Delessert (Benjamin).
Delahaye.
Devinck.
Durieu (Eugène).
Falanpin.
Fau (Joseph).
Fierlants.
Fordos.
Fortier.
Foucault (Léon).
Gaillard (Paul).
Castaldi (André).
Gâtel.
Gélis.
Girard (Aimé).
Greenn.
B^on Gros.
Heilmnnn (J.-J.).
Horsin-Déon.
Hocédé du Tramblay.
Hulot.
Humbert de Molard.
C^te de Laborde (Léon), de l’Institut,
Abbé Laborde.
Labrador.
Lacoste.
Laurent.
Leblanc.
Legray (Gustave).
Lemaitre.
Lucas.
Lyte (F.-M.).
Meiland.
Mestral.
C^te du Manoir (Roger).
B^on Martineau des Chesncz.
Abbé Moigno.
V^te de Montault.
Moreau (Adolphe).
Nègre (Charles).
De Nothomb.
Olry.
Pelouze, de l’Institut.
Périer (Paul).
Peliot-Grolfier.
Pigeury (Félix).
Pouillet, de l’Institut.
Puech.
Regnault, de l’Institut.
Renard.
Ribot.
Richard.
De la Rivière (F.-A.).
Rolloy.
Rousseau (Louis).
Rousseau (Phillipe).
Sabattier.
Secretan.
B^on Seguier, de l’Institut.
B^on Seillière.
Silbermann.
Teinturier.
Tillard (Ferdinand).
Travers (Louis).
Tremblay.
Tripier (Léon).
De Valicourt.
Vaillat.
Vallou de Villeneuve.
V^te Vigier.”
[Couppier is found again in a second list of members published in the Dec. 1855 issue of the journal. WSJ]

Sutton, Thomas. “The Albumen Process on Glass.” JOURNAL OF THE PHOTOGRAPHIC SOCIETY. 2:28. (Mar. 20, 1855): 137-138. [“To the Editor of the Photographic Journal.
St. Brelade’s Bay, Jersey,
Feb. 22, 1855.
Sir, — The following version of the albumen process on glass was communicated to me two years ago, when in Rome, by a photographer of some eminence in that city. It was then very much in fashion, and was practised as I have described by two or three professionals, whose works have, I dare say, rendered the ruins of the eternal city familiar to many of your readers. The present formula originated with a venerable “padre,” whose enthusiasm for the art occasioned his expulsion from his order. I have never seen it in print. If you think it will interest any of your readers, it is quite at their service. The novelty consists in the addition of certain substances to the albumen, in order to render the spreading of it more easy ; and in the mode of iodizing.
It was not communicated to me as a secret, for my friend was one of those liberal spirits who scorn the idea of secrets in photography; in which I believe we are all now pretty much agreed. In fact, were the art to become ever so easy and certain, there would still remain sufficient scope for the exercise of taste and judgment, in the selection of the view, and the arrangement of the model, to render the possessor of these qualities superior to the mere mechanical copyist.
I have sent you my friend’s MS., verbatim; the gaps are only such as may be filled up from other sources.
I may remark that the fixing by hyposulphite is said by MM. Jules Couppier and Blanquart-Evrard to be the reason, and the only reason of the wiry hardness sometimes observable in this process. These gentlemen recommend bromide of potassium as the fixing agent…” (Etc., etc. The formula follows. WSJ)]

Périer, Paul. “Exposition Universelle. 1er Article.” BULLETIN DE LA SOCIÉTÉ FRANÇAISE DE PHOTOGRAPHIE vol. 1 (June 1855): 146-148. [“Dans un des premiers couloirs qu’on trouve à sa gauche en entrant ‘au Palais de l’Industrie par le grand portail, on rencontre quatre ou cinq compartimentes, réduits ou cabines, sur les quatre faces desquels se pressent les plus brillants spécimens de la Photographie française, en se disputant les rayons obliques d’un jour changeant et douteux. Certes, si nous avons lieu d’être fiers pour notre art de cette exhibition, ce n’est pas en raison de l’hospitalité qui nous est faite. Elle rappelle un peu trop ces catacombes du Louvre, de sinistre mémoire, où tant de peintres se sont vus ensevelir de leur vivant. Déjà beaucoup d’entre nous se sentaient à l’avance dépaysés au milieu des produits, tout merveitleux qu’ils soient, de l’industrie cosmopolite. Les résultats glorieux et féconds d’une découverte qui surpasse et menace dans leur existence même la lithographie, la gravure, et jusqu’à certaines régions de la peinture, leur semblaient dignes de trouver place dans le sanctuaire des arts….” (p. 146) * * * * “…Nos yeux se reposent enfin sur les cadres de nos artistes sérieux. Nous sommes heureux de rendre un premier hommage à MM. Baldus, Bertsh, Bilordeaux, Bisson, Giroux, Legray, Lesecq, Martens, Ch. Nègre, Tournachori, etc., etc. Non-seulement ils soutiennent une renommée légitime, mais ils offrent encore à divers titres, avec des qualités différentes, de nouvelles et magnifiques preuves de ce que peuvent le goût, la conscience et la passion de l’art, aidés par une habileté pratique supérieure.
A la suite, émules redoutables ou disciples ardents stimulés par l’exemple, se présente la tribu des amateurs. MM. Aguado, Cousin, B. Delessert, Fortier tiennent le premier rang, que viendra leur disputer M. Bayard, quand il sera prêt.
M. Renard, de Bourbonne-les-Bains, excelle dans la reproduction des gravures et bas-reliefs.
Parmi les plus fraîches recrues, M. de Bérenger promet d’égaler ses anciens. On regrette l’absence de MM. Caron, J. Couppier, Gaillard, Humbert de Molard, Mestral, L. Rousseau, Stéphane Geoffray, Vigier, Roman, Vallou de Villeneuve, et d’autres encore. qui manquent au rendez-vous, sans pouvoir être admis à présenter la modestie pour excuse.
Enfin, si nous passons le détroit, en montant au premier étage, les noms de MM. Roger Fenton, Maxwell Lyte, H. White, nous frappent des premiers, et nous aimons à proclamer sans retard quel merveilleux parti nos excellents alliés.ont su tirer de la Photographie sur collodion.
Peu de personnes, jusqu’à présent, ont pu jouir de la vue de ces charmants ouvrages; c’est un plaisir qui coûte encore cher. En outre, le déballage et le placement sont loin d’être achevés pour l’Exposition en général, et le public, averti, s’abstient, pour ne pas gâter le plaisir que lui promet la pièce en assistant à la répétition. Nos diverses revues photographiques arriveront donc encore assez à temps, soit. pour signaler à nos lecteurs les oeuvres exceptionnelles, soit pour exprimer en l’honneur des plus habiles, si toutefois cette ambition nous est permise, le commun sentiment des amateurs de l’art.
28 mai 1855. P. P.” (p. 148)]
[(“In one of the first corridors found on the left when entering the Palais de l’Industrie through the large portal, one encounters four or five compartments, reduced or cabins, on the four sides of which are crowded the most brilliant specimens of the French photography, fighting over the oblique rays of a changing and dubious day. Certainly, if we have reason to be proud of our art in this exhibition, it is not because of the hospitality extended to us. It is a little too reminiscent of those catacombs of the Louvre, of sinister memory, where so many painters saw themselves buried during their lifetime. Already many of us felt out of place in the midst of the products, marvelous as they were, of cosmopolitan industry. The glorious and fruitful results of a discovery which surpasses and threatens the existence of lithography, engraving, and even certain areas of painting, look to find a dignified place in the sanctuary of the arts.
(p. 146) * * * * “…Our eyes finally rest on the frames of our serious artists. We are pleased to pay a first tribute to MM. Baldus, Bertsh, Bilordeaux, Bisson, Giroux, Legray, Lesecq, Martens, Ch. Nègre, Tournachori, etc., etc. Not only do they support a legitimate fame, but they still offer in various ways, with different qualities, new and magnificent proofs of what taste, conscience and passion for art can do, aided by superior practical skill. .
Following, formidable emulators or ardent disciples stimulated by example, comes the tribe of amateurs. MM. Aguado, Cousin, B. Delessert, Fortier hold the first rank, which M. Bayard will come to dispute with them, when he is ready.
Mr. Renard, from Bourbonne-les-Bains, excels in the reproduction of engravings and bas-reliefs.
Among the freshest recruits, NI. de Bérenger promises to equal his elders. We regret the absence of MM. Caron, J. Couppier, Gaillard, Humbert de Molard, Mestral, L. Rousseau, Stéphane Geoffray, Vigier, Roman, Vallou de Villeneuve, and others. who miss the appointment, without being able to be admitted to present modesty as an excuse.
Finally, if we cross the strait, ascending to the first floor, the names of MM. Roger Fenton, Maxwell Lyte, H. White, are the first to strike us, and we like to proclaim without delay what marvelous advantage our excellent allies have been able to derive from Collodion Photography.
Few people, until now, have been able to enjoy the sight of these charming works; it is a pleasure that is still expensive. In addition, the unpacking and placement are far from complete for the Exhibition in general, and the public, informed, abstains, so as not to spoil the pleasure that the piece promises them by attending the rehearsal. Our various photographic reviews will therefore still arrive quite in time, granted. to announce to our readers the exceptional works, or to express in honor of the most skilful, if however this ambition is allowed to us, the common feeling of the amateurs of art.
28 mai 1855. P. P.” (p. 148)]

Périer, Paul. “Exposition Universelle. 6e Article – Photographes Étrangers.” BULLETIN DE LA SOCIÉTÉ FRANÇAISE DE PHOTOGRAPHIE vol. 1 (Nov. 1855): 314-332. [“Depuis la décadence de l’art italien, et comme un légataire sympalhiquement choisi par cette gloire agonisante, la France a tenu le sceptre que l’Italie jadis avait reçu de la Grèce. Parmi toutes les nations rivales appelées à triompher tour à tour dans la guerre ou l’industrie, jamais elle n’a perdu la supériorité de l’art et du goût.
C’est là une vérité si généralement admise, qu’on peut l’énoncer, même en ce moment, sans manquer de politesse envers les hôtes étrangers auxquels nous avons à faire les honneurs du logis.
Certes il y aurait aujourd’hui mauvaise grâce à rechercher, dans une histoire encore brûlante, si nos revers les plus désastreux nous ont jamais décourounés de notre excellence guerpouren parer d’autres fronts.
Ou peut être aussi brave que nous, d’ailleurs, sans l’être de la même façon, avec notre adresse et notre entrain, et nous ne trouvons en ce moment, dans les rangs unis d’une héroïque armée, que des nuances d’émulation dans les courages. Mais ce qui ne sera pas contesté, c’est que nos arts n’ont encore à déplorer ni Malplaquets, ni Waterloos. Les étrangers s’unissent dans un commnn hommage aux créations que le génie, français élabore avec patience, comme à celles qu’il produit en se jouant; a nos modes, il notre luxe il recherche les riches fantaisies dont nous faisons briller le superflu, comme le; gracieux enjolivements dont nous rehaussons le nécessaire….” (p. 314) * * * * “…Les stéréoscopes de MM. L.-R. Williams et Claudet leur donnent ious droits à recevoir l’accolade de MM. Fcrricr, Soulier, Clouzard et Couppier, qui chez nous sont les maîtres du genre.
Mais l’effet de sortilège et de récréation amusante étant la plus réelle et la seule durable impression que nous aient jamais laissée ces sortes de choses, nous en livrons à faire l’histoirc et l’éloge tout neufs à qui prendra là son plaisir. Deux éminents critiques de la science, qui font quelquefois l’école buissonnièrc à travers l’art, se sont chamaillés ce sujet
« Arrière le stéréoscope, a dit l’un, ce n’est qu’une boîte à surprises, un joli joujou.»
M Malheur et profanation a répondu son collègue rcgardez-y mieux. Dans les petites boites les bons onguents, c’est une institution Il
Hélas! nous aussi nous friserons le sacrilége en avouant que dans la pyramide stéréoscopique nous nc voyons guère qu’un objet d’étrennes pour les enfants, grands ou petits. Ce n’est plus là de la perspective ou du relief; mais une façon de jeu de quilles pittoresque, au milieu desquelles votre œil se promène comme la boule, en franchissant des espaces chimériques. Pour aller ainsi prestement à travers des intervalles si démesurément agrandis, il semble que le spectateur ait les prunelles de sept lieues dont l’ogre avait les bottes. Et là, sincèrement, le stéréoscope n’est-il pas à notre art ce que la boite à cylindre est à la musique? Quel régal d’avoir à tirer sa tabatière de sa poche, à pousser des boulons à poser le tout sur un verre a boire, pour entendre les mêmes ariettes chantées avec une voix de sauterelle! Certes, les noms par nous cités sont ceux d’hommes ingénieux, de grande science et d’exécution parfaite; mais qui jettent, comme on le dit vulgairement, leur poudre aux moineaux….” (p. 327)
[“Since the decadence of Italian art, and like a heir sympathetically chosen by this dying glory, France has held the scepter which Italy formerly had received from Greece. Among all the rival nations called to triumph by turns in war or industry, she has never lost the superiority of art and taste.
This is a truth so generally admitted that it can be stated, even at this moment, without being lacking in politeness towards the foreign guests to whom we have to do the honors of the house.
Certainly it would be ungracious today to seek, in a history that is still burning, if our most disastrous reverses have ever discouraged us from our excellence in fighting to parry them on other fronts.
Or perhaps as brave as we, moreover, without being so in the same way, with our skill and our spirit, and we find at this moment, in the united ranks of a heroic army, only shades of emulation in courage. But what will not be disputed is that our arts have yet to deplore either Malplaquets or Waterloos. Foreigners unite in a common homage to the creations which the French genius elaborates with patience, as well as to those which he produces by playing with himself; to our fashions, he our luxury he seeks the rich fantasies with which we make the superfluous shine, like the; graceful embellishments with which we enhance the necessary….” (p. 314) * * * * “…The stereoscopes of MM. L.-R. Williams and Claudet give them every right to receive the accolade of MM. Ferrier, Soulier, Clouzard and Couppier, who with us are the masters of the genre.
But the effect of magic and amusing recreation being the most real and the only lasting impression that these sorts of things have ever left on us, we leave it up to make the history and the praise quite new to whoever will take his pleasure in it. Two eminent critics of science, who sometimes skip school through art, have bickered over this subject.
“Back the stereoscope, said one, it’s just a box of surprises, a pretty toy.”
M. Malheur et profanation replied his colleague look at it better. In the little boxes the good ointments, it’s an institution He
Alas! we too will be bordering on sacrilege by admitting that in the stereoscopic pyramid we see little more than an object of New Year’s gifts for children, big or small. This is no longer perspective or relief; but a picturesque way of bowling, through which your eye wanders like a ball, crossing chimerical spaces. To go thus nimbly through intervals so disproportionately enlarged, it seems that the spectator has the eyeballs of seven leagues of which the ogre had the boots. And there, sincerely, isn’t the stereoscope to our art what the cylinder box is to music? What a treat to have to take your snuffbox out of your pocket, to push bolts to put everything on a drinking glass, to hear the same ariettas sung with a grasshopper’s voice! Certainly, the names cited by us are those of ingenious men, of great science and perfect execution; but who throw, as it is commonly said, their powder to the sparrows….” (p. 327)]

1856

“Photographie. Exposition photographique de Bruxelles. Distribution des récompenses.” COSMOS: REVUE ENCYCLOPÉDIQUE HEBDOMADAIRE DES PROGRES DES SCIENCES. Vol. 9 (1856): 625-626. [[“La distribution des récompenses de l’Exposition des arts industriels de Bruxelles a eu lieu dimanche. Elle a été précédée d’un discours de M. Romberg, directeur au ministère de l’Intérieur et membre secrétaire de la Commission, et d’un rapport auquel nous empruntons le passage suivant relatif à la photographie: « Une circonstance heureuse, la réunion des cuvres des photographes les plus distingués de tous les pays, a assuré à l’Exposition de cette année un intérêt et un succès imprévus. Le public y a trouvé une révélation de la variété et de la richesse des ressources de cet art merveilleux; si l’on pouvait contester à la photographie ce titre sans injustice, du moins l’Association ne saurai le lui disputer sans ingratitude. L’année prochaine nous demanderons encore à l’invention de Daguerre et de Niepce de concourir à l’éclat de notre Exposition; nous y réserverons aussi une place spéciale à d’autres combinaisons neuves et ingénieuses dont la science a enrichi les arts industriels dans ces dernières années, Voici maintenant la liste des récompenses pour la section photographique:
Photographie. Médailles avec mention: MM. Niepce de Saint-Victor, Bayard, Baldus (Ed.), Hanfstaengl (F.). Le Gray (Gustave), Lorent (D.-A.), Nadar, White (H.).
Médailles: MM. Aguado (comte), Alinari, frères (L. et J.), Archer (S.), Béranger (marquis de), Bertsch et Arnaud, Bisson frères, Blanquard-Evrard, Claudet, Delessert, Dubois de Nehaut (chevalier), Fenton (R.), Ferrier (C.), Fortier, Gething (G.-B.), Ghémaret Séverin, Humbert de Molard , Jeanrenaud, Le Ghait (Madame), Maxwell-Lyte, Minutoli (baron de), Negre (Ch.), Oppenheim (F.-A.), Perini (A.). Poitevin , Rousseau, Robert, Rylander (0. J.), Sedqfield (W. R.), Taylor (H.), Tournachon-Nadar (jeune), VaudeGreen (Madame), Vigier (vicomte J.).
Mentions honorables: MM. Adlich (G.-W.), Belloc (A.), Brauns (E.), Caranza (E. de), Clausel, Couppier (J.), Cox (J.), De la Blanchère, Delehaye et Sluyts, D’Hoy, Durieu (E.), Gaillard (P.), Gaumé, Green, Grillet, Hermann-Krone, Johnson (D.), Kramer (P.), Mencke (A.), Millet, Pesme et Varin, Plumier (V.), Radoux, (p. 625)  Richebourg, Riffaut, Sacchi (L.), Stephane-Geoffray, Thierry, Vogel.
Appareils et Produits Relatifs a la Photographie. Médailles:
MM. Jamin, Marion. Honorable mentions: Messrs. Barboni, Delahaye, Dufau and Desespringalle, Laurent and Carshelaz.“ (p. 626)]
[(Photography. Photographic exhibition in Brussels. Distribution of rewards. The distribution of the awards for the Industrial Arts Exhibition in Brussels took place on Sunday. It was preceded by a speech by Mr Romberg, director at the Ministry of the Interior and member secretary of the Commission, and by a report from which we borrow the following passage relating to photography: “A fortunate circumstance, the meeting of the works of the most distinguished photographers of all countries, has assured this year’s Exhibition of unexpected interest and success. The public has found there a revelation of the variety and richness of the resources of this marvelous art; if photography could be disputed this title without injustice, at least the Association cannot dispute it without ingratitude. Next year we will again ask the invention of Daguerre and Niepce to contribute to the brilliance of our Exhibition; we will also reserve a special place there for other new and ingenious combinations with which science has enriched the industrial arts in recent years. Here is now the list of awards for the photographic section:…” (Etc., etc.)]

“Exposition Universelle de Photographie a Bruxelles.” BULLETIN DE LA SOCIÉTÉ FRANÇAISE DE PHOTOGRAPHIE vol. 2 (1856): 278-293. [“En remettant à notre Secrétaire de rédaction cette volumineuse copie, j’éprouve le besoin de protester contre toute prétention personnelle d’accaparer, au profit de mon mauvais style, une si bonne partie de ce Bulletin. Je remplis humblement un devoir envers la Société. J’étais depuis six semaines à Bruxelles, profitant in extenso de la bonne et amicale hospitalité que m’avait offerte un de nos collègues, M. Dubois de Nehaut, à l’occasion des fêtes nationales préparées pour la célébration du vingt-cinquième anniversaire du règne de S. M. Léopold Ier. J’avais pu ainsi, tout à mon aise, voir chevaucher la jeunesse de Bruges en costumes historiques, contempler ces brillants chevaliers de la Toison d’Or de la cour de Philippe le Bon, etc. J’avais vu défiler ces chars somptueux représentant les attributs de chaque province de la Belgique et cherchant à se surpasser les uns les autres par leur magnificence. Ces fêtes solennelles, rares et vraiment splendides, sont bien dignes de piquer la curiosité des plus indifférents. Cependant, je l’avoue, je n’aurais pas entrepris le voyage si je n’avais su que la Photographie devait prendre une large part
[“In handing over this voluminous copy to our Editorial Secretary, I feel the need to protest against any personal claim to monopolize, for the benefit of my bad style, so much of this Bulletin. I humbly fulfill a duty to the Society. I had been in Brussels for six weeks, taking full advantage of the good and friendly hospitality offered to me by one of our colleagues, Mr. Dubois de Nehaut, on the occasion of the national holidays prepared for the celebration of the twenty-fifth anniversary of the reign of HM Leopold I. I had thus been able, quite at my ease, to see the youth of Bruges riding in historical costumes, to contemplate these brilliant knights of the Fleece of Gold from the court of Philip the Good, etc. I had seen these sumptuous floats representing the attributes of each province of Belgium and seeking to surpass one another by their magnificence. These solemn festivals, rare and truly splendid, are well worthy of arousing the curiosity of the most indifferent. However, I admit it, I would not have undertaken the trip if I had not known that Photography had to play a large part (p. 278)  at the party. Indeed, favored by a radiant sun, and thanks above all to the indefatigable zeal of our colleague M. Dubois de Nchaut, photography was able to capture, through the groups and the masses, many episodes of these solemnities. In short, the facts accomplished and the job finished or nearly finished, I prepared to return to my Parisian household, quite convinced that I had deserved my right to rest, when I learned that our Society was collectively sending the works of our colleagues for the Exhibition which was soon to open in Brussels. On the very gracious, but rather urgent invitation which was made to me by our Secretary-Agent on behalf of the Committee, I had to postpone my return to attend with him the opening of the Exhibition and report on it. in our newsletter….” (p. 279) * * * *
“….En fait d’albumine, M. Bayard, dont les titres occupent une des premières pages dans les annales de la Photographie, MM. Fortier, Robert, Ferrier, J. Couppier;, n’ont-ils pas prouvé qu’ils ne craignent pas de rivalités? Et, à ce sujet, nous ne saurions trop blâmer MM. Ferrier et J. Couppier; de n’avoir pas joint à leurs belles épreuves stéréoscopiques, que tout le monde admire, quelques-unes de leurs grandes et magnifiques pages albuminées. …” (p. 289)]
[(As regards albumen, Mr. Bayard, whose titles occupy one of the first pages in the annals of Photography, MM. Fortier, Robert, Ferrier, J. Couppier, have they not proved that they are not afraid of rivalries? And, on this subject, we cannot too much blame MM. Ferrier and J. Couppier for not having attached to their beautiful stereoscopic prints, which everyone admires, some of their large and magnificent albumen pages….”)]

“Rapport du Jury. Charge de juger la section de photographiee a l’Exposition Universelle des Arts Industriels de Bruxelles.” BULLETIN DE LA SOCIÉTÉ FRANÇAISE DE PHOTOGRAPHIE vol. 2 (1856): 344-352.
[…“Mentions Honorables. “
Adlich, (C.-W.), *Belloc (Auguste), Brauns (E.), *Caranza (E. De), Clausel, *Couppier; (J) ,Cox (J.) *De La Blanchebe.,  *Delehayes Et Sluyts., ] Dhoy. *Durieu (E.) *Gaillard (Paul), *Gaume, *Greene, Grillet, *Hermann Krone. Johnson (D.). …” (p. 347)]

Lacan, Ernest. “Exposition photographique de Bruxelles. (Suite et fin.)” LA LUMIERE 6:49 (Dec. 6, 1856): 189. [“Nous citerons encore, parmi les meilleurs portraits qui aient figuré à l’exposition photograpliique de Bruxelles, les belles plaques de M. Thierry, de Lyon.
Maintenant, avant de passer à l’examen rapide des sections anglaise et allemande, nous réparerons un oubli qu’on serait en droit de nous reprocher, en signalant comme une oeuvre tout à fait remarquable l’intéressante collection de vues stéréoscopiques prises à Marseille par M. J. Couppier. M. Couppier est un des operateurs qui savent le mieux tirer parti des procédés à l’albumine ; il est un de ceux aussi qui appliquent le plus habilement le stereoscope a la photographie….”]
[(Photographic exhibition in Brussels.
We will also cite, among the best portraits which figured in the photographic exhibition of Brussels, the beautiful plates of M. Thierry, of Lyons.
Now, before moving on to a rapid examination of the English and German sections, we will make up for an oversight for which we have the right to be reproached, by pointing out as an absolutely remarkable work the interesting collection of stereoscopic views taken in Marseilles by M. J. Couppier. M. Couppier is one of the operators who best know how to take advantage of albumin processes; he is also one of those who most skilfully apply the stereoscope to photography….”)]

Lacan, Ernest. “Exposition photographique de Bruxelles. Distribution des Récompenses.” LA LUMIERE 6:50 (Dec. 13, 1856): 193. [“Dimanche 7 décembre, à midi, a eu lieu, à l’hôtel de ville de Bruxelles, la distribution des récompenses accordées à la suite de l’exposition des arts industriels. S. A. R. le duc de Brabant a honoré de sa présence cette solennité, à laquelle assistaient également le ministre de l’intérieur, M. de Brouckere, bourgmestre de Bruxelles et président de la commission directrice de l’association.
M. Ch. de Brouckere a ouvert la séance par quelques mots bien sentis, dans lesquels il a rappelé le but que se propose l’association, et remercié le Prince royal du nouvel encouragement qu’elle puise dans sa présence à cette cérémonie. M. Ed. Romberg, directeur au ministère de l’intérieur et secrétaire de la commission, a ensuite donné lecture d’un rapport très-clair, dans lequel il a particulièrement insisté sur les heureux résultats que présente l’alliance intime de l’art et de l’industrie, en cherchant à démontrer que dans cette union l’art n’était point abaissé, mais qu’au contraire son horizon s’élargissait.
Nous sommes heureux de reproduire un passage de ce remarquable discours, qui intéresse particulièrement nos lecteurs; “Une circonstance heureuse,” — a dit M. Romberg en terminant, — « la réunion des oeuvres des photographes les plus distingués de tous les pays, a assuré à l’exposition de cette année un intérêt et un succès imprévus. Le public y a trouvé la révélation de la variété et de la richesse des ressources de cet art merveilleux. Si l’on pouvait contester à la photographie ce titre sans injustice, du moins l’association saurait le lui disputer sans ingratitude. L’année prochaine, nous demanderons encore à l’invention de Daguerre et de Niepce de concourir à l’éclat de notre exposition ; nous y réserverons aussi une place spéciale à d’autres combinaisons neuves et ingénieuses dont la science a enrichi les arts industriels dans ces dernières années.
“C’est ainsi que l’association s’efforcera de remplir la mission qu’elle s’est donnée, et si son zèle et sa résolution avaient pu être ébranlés, elle les retremperait dans d’augustes suffrages dont la présence d’un prince est pour elle ici l’expression la plus certaine, la plus flatteuse et la plus encourageante.”
Il a été procédé ensuite à la distribution des récompenses. Le duc de Brabant a voulu les remettre lui-même aux lauréats présents, en leur adressant de bienveillantes félicitations.
Nous donnons plus loin la liste de celles accordées dans la section de photographie. E. L.
                                                            Liste ces Récompenses.
—————————————
Médailles avec mention.
MM.
NIEPCE DE SAINT-VICTOR,                                                                                                     Paris.
BALDUS (ED.),                                                                                                                         Paris.
BAYARD,                                                                                                                                 Paris.
HANFSTANGL (F.),                                                                                                                   Munich.
LEGRAY (G.),                                                                                                                           Paris.
LORENT (DR. A.),                                                                                                                     Venise.
NADAR,                                                                                                                                    Paris.
WHITE,                                                                                                                                     Londres.
—————————————
Médailles sans mention.
MM.
AGUADO (COMTE O.),                                                                                                             Paris.
ÀLINARI FRÈRES,                                                                                                                    Florence.
ARCHER (S.),                                                                                                                           Londres.
BÉRENGER (M^is DE),                                                                                                                Paris.
BERTSCH ET ARNAUD,                                                                                                           Paris.
BISSON FRÈRES,                                                                                                                    Paris.
BLANQUARD-EVRARD,                                                                                                            Lille.
CLAUDET (A.),                                                                                                                         Londres.
DELESSERT (B),                                                                                                                      Paris.
DUBOIS DE NEHAUT (le chev^r),                                                                                                Lille.
FENTON (ROGER),                                                                                                                  Londres.
FERRER (CLAUDE),                                                                                                                 Paris.
FOUTIER,                                                                                                                                 Paris.
GETHING (G. B.),                                                                                                                     Newport.
GHEMAAR ET SEVERIN,                                                                                                          Bruxelles.
HUMBERT DE MOLARD,                                                                                                          Paris.
JEANRENAUD,                                                                                                                         Paris.
LE GHAIT (MADAME),                                                                                                              Bruxelles.
MAXWELL LYTE                                                                                                                       Bagnères-de-Big.
MINUTOLI (BARON DE),                                                                                                           Liegnitz.
NÈGRE (CH.),                                                                                                                           Paris.
OPPENHEIM (F. A.),                                                                                                                 Dresde.
PERINI (A.),                                                                                                                              Venise.
POITEVIN,                                                                                                                                Paris.
ROUSSEAU (L.),                                                                                                                       Paris.
ROBERT,                                                                                                                                  Paris.
REYLANDER [sic Rylander] (O. J.),                                                                                            Londres.
SEDGFIELD (W. B.),                                                                                                                 Londres.
TORNACHON NADAR JEUNE,                                                                                                 Paris.
VAUDÉ GREEN (MADAME),                                                                                                     Paris.
VIGIER (LE VICOMTE),                                                                                                             Paris.
—————————————
Mentions Honorables.
MM.
ADLICH (C. W.),                                                                                                                        Berlin.
BELLOC (AUG.),                                                                                                                       Paris.
BRAUNS (E.),                                                                                                                           Rome.
CARANZA (E. DE),                                                                                                                    Paris.
CLAUSEL,                                                                                                                                Troyes.
COUPPIER (J),                                                                                                                         Paris.
COX (J.),                                                                                                                                  Devonport.
DE LA BLANCHÈRE,                                                                                                                 Paris.
DELEHAY ET SLAYTS,                                                                                                             Anvers.
D’ROY,                                                                                                                                     Bruxelles.
DURIEU (E.),                                                                                                                            Paris.
GAILLARD (PAUL),                                                                                                                   Paris.
GAUMÉ,                                                                                                                                   Le Mans.
GREENE,                                                                                                                                 Paris.
GRILLET,                                                                                                                                 Paris.
HERMANN KRONE,                                                                                                                  Dresde.
JOHNSON (D),                                                                                                                         Blackburn.
KRAMER (P.),                                                                                                                           Cologne.
MENKE (A.),                                                                                                                             Hambourg.
MILLET,                                                                                                                                    Paris.
PESME ET VARIN,                                                                                                                    Paris.
PLUMIER (A.),                                                                                                                          Bruxelles.
RADOUX,                                                                                                                                 Bruxelles.
RICHEBOURG,                                                                                                                         Paris.
SACCHI (L.),                                                                                                                             Milan.
STEPHANE GEOFFRAY,                                                                                                          Roanne.
THIERRY,                                                                                                                                 Paris.
VOGEL (F.),                                                                                                                              Venise.
—————————————
Appareils et Produits Relatifs a la Photographie.
                                                            —————————————
Medailles.
MM.
JAMIN,                                                                                                                                     Paris.
MARION,                                                                                                                                  Paris.
—————————————
                                                                        Mentions honorables
MM.
BARBONI,                                                                                                                                Bruxelles.
DELAHAYE,                                                                                                                              Paris.
DUFAY ET DESESPRINGALLE,                                                                                                Paris.
LAURENT ET CASTHELAZ,                                                                                                      Paris.
HERMAN,                                                                                                                                 Berlin.
—————————————
[(“Photographic exhibition in Brussels. Distribution of Awards.”
Sunday, December 7, at noon, the distribution of the awards granted following the exhibition of industrial arts took place at the Brussels City Hall. H. A. R. the Duke of Brabant honored this solemnity with his presence, which was also attended by the Minister of the Interior, Mr. de Brouckere, Mayor of Brussels and President of the association’s steering committee.
Mr. Ch. de Brouckere opened the meeting with a few heartfelt words, in which he recalled the aim of the association, and thanked the Prince Royal for the new encouragement that it draws from his presence at this ceremony. Mr. Ed. Romberg, director at the Ministry of the Interior and secretary of the commission, then read a very clear report, in which he particularly insisted on the happy results presented by the intimate alliance of the art and industry, seeking to demonstrate that in this union art was not lowered, but on the contrary its horizon widened.
We are happy to reproduce a passage from this remarkable speech, which particularly interests our readers;
“A happy circumstance,” said Mr. Romberg in conclusion, “the collection of the works of the most distinguished photographers of all countries, has assured this year’s exhibition of unexpected interest and success.” The public found there the revelation of the variety and the richness of the resources of this marvelous art. If photography could be challenged with this title without injustice, at least the association
the association would know how to argue with him without ingratitude. Next year, we will ask again to the invention of Daguerre and Niepce to contribute to the brilliance of our exhibition; we will also reserve a special place for others new and ingenious combinations including the science has enriched the industrial arts in recent years.
“This is how the association will strive to fulfill the mission it has given itself, and if its zeal and its resolution could have been shaken, it would retemper them in august votes whose presence of a prince is for her here. the most certain, the most flattering and the most encouraging expression.
The prizes were then distributed. The Duke of Brabant wanted to present them himself to the winners present, sending them warm congratulations. m
We give here the list of those granted in the photography section….” (Etc., etc.)]

“Note.” JOURNAL OF THE PHOTOGRAPHIC SOCIETY. 3:49 (Dec. 22, 1856): 173. [“The distribution of Medals and other rewards of the Brussels Exhibition took place on Sunday the 7th instant.
The list of rewards for the Photographic Section is as follows :
Medals (with mention). Niepce de St. Victor ; Bayard; Baldus, E. ; Hanfstaengl, F.; Le Gray, G.; Lorent, D. A. ; Nadar; White, H.
Medals.—The Count Aguado ; Alinari (brothers), L. and I.; Scott Archer, F.; Marquis de Beranger; Bertsch and Arnaud; Bisson (brothers) ; Blanquard-Evrard; Claudet; Delessert; The Chevalier Dubois de Nehaut; Fenton, R.; Ferrier, C.; Fortier; Gething, G. B.; Ghemaret Séverin; Humbert de Molard ; Jeanrenaud ; Madame Le Ghait; Maxwell Lyte; The Baron de Minutoli; Negré, C.; Oppenheim, F. A.; Perini, A.; Poitevin Rousseau ; Robert ; Rejlander, O. G.; Sedgfield, R.; Taylor, H.; Tournachon-Nadar (the younger); Madame Vaudé Green ; The Viscount Vigier. (p. 172)
Honourable Mention.-Adlich, G. W.; Belloc, A.; Braun, E.; De Caranza, E.; Clausel ; Couppier, J.; Cox, J.; De la Blanchère ; De la Hoye and Sluyts ; D’Hoy; Durieu, E.; Gaillard, P.; Gaumé; Green; Grillet ; Hermann-Krone; Johnson, D.; Kramer, P.; Meneke, A. ; Millet; Pesme and Varin ; Plumier, V.; Radoux ; Richebourg; Riffaut ; Sacchi; Stephane-Geoffray; Thierry ; Vogel.
Apparatus and Products.
Medals.-Jamin; Marion.
Honourable Mention.-Barboni ; Delahaye; Dufau and Desespringalle ; Laurent and Carshelaz. “ (p. 173)]

1857

“Assemblee Générale De La Société.” BULLETIN DE LA SOCIÉTÉ FRANÇAISE DE PHOTOGRAPHIE vol. 3 (July 1857): 201. [“Procès-verbal de la séance du la séance du 19 juin1858.”
“…Depuis la séance dernière MM. Baldus, Bayard, Henri de la Baume, le marquis de Berenger, Bilordeaux, Bisson frères, J. Couppier;, Davanne, Durieu, Ferrier, Fierlants, le comte de Galard, Philippe Gardner, Stéphane Geoffray, Humbert de Molard , Jacott-Cappelaëre, Jeanrenaud, Le Gray, Lemaître, Lemercier, le docteur Lorent de Venise, le comte Roger du Manoir, Marion, le vicomte de Montault, Nadar, Charles Nègre, le marquis de Noailles, Richebourg, Robert de Sèvres, Louis Rousseau, L. Sacchi de Milan et le vicomte J. Vigier ont offert a la Société, pour la vente qui a eu lieu le 5 juin, diverses séries d’épreuves qui n’ont pu étre mentionées dans le dernier process-verbal…” (p. 201)

“Rapport sur l’Exposition ouverte par la Société en 1857. (Suite et Fin (I).” BULLETIN DE LA SOCIÉTÉ FRANÇAISE DE PHOTOGRAPHIE vol. 3 (Sept. 1857): 273-313. [“…Ces épreuves, d’ailleurs, méritent par elles-mêmes d’être citées pour leur finesse.
Les épreuves stéréoscopiques de M. Ferrier, de MM. Clouzard et Soulier, et de M. J. Couppier;, ne sont pas moins remarquables que celles qu’ils avaient exposées l’année dernière. Plusieurs présentent même sous un certain rapport une amélioration évidente. …” (p. 292)]
[..These tests, moreover, deserve by themselves to be cited for their finesse.
The stereoscopic proofs of M. Ferrier, of MM. Clouzard and Soulier, and M. Couppier, are no less remarkable than those they exhibited last year. Several even present in a certain respect an obvious improvement. …”]

1858

Lacan, Ernest. “Photographie stéréoscopique. M. Adolphe Braun.” LA LUMIERE 8:16 (Apr. 17, 1858): 61. [“Lorsqu’il publiait ses magnifiques albums de fleurs, M. Braun créait, pour la photographie, ne nouvelle application dans laquelle il est sté jusqu’à présent sans rival. Le succès qu’il tint et la réputation qu’il s’est acquise suffirent aux plus ambitieux ; mais le photograhe des fleurs a voulu prouver que son talent e s’arrêtait pas aux limites d’une spécialité, et a abordé hardiment un genre où il allait voir à lutter avec des maîtres qu’il est bien difficile de surpasser, sinon d’égaler: nous voulons parler de la stéréoscopie. Et pourtant, sette fois encore, M. Braun est resté original, dépit des règles particulières au genre qu’il adoptait et du nombre considérable des oeuvres dêjà produites, et il a gardé sa place hors ligne, malgré le mérite de ses devanciers. On ne peut ire qu’il les ait dépassés, parce qu’il marche ans une autre voie; il nîa pas fait mieux, parce que cela est impossible ; mais il a fait litre chose. Ses épreuves sur papier ne sont ni des vues, comme celles de MM. Ferrier, Souliér, Clouzard, Couppier, Bernoud, Grillet et autres, ni des scènes animées, comme celles qui __rtent de l’atelier anglais de MM. Gaudin ; ce __ut de ravissants tableaux, vrais comme la nature, variés comme la fantaisie, pleins d’air, e lumière et de vie. M. Braun n’est pas seument un photographe expérimenté, ses comositions révèlent en lui l’artiste et le poète….” (Etc., etc.)
(Reference damaged and my schoolboy French could not reconstruct all the words. WSJ)]
[“When he published his magnificent flower albums, Mr. Braun created a new application for photography in which he has so far been unrivaled. The success he had and the reputation he acquired sufficed for the most ambitious; but the flower photographer wanted to prove that his talent did not stop at the limits of a specialty, and he boldly tackled a genre where he was going to struggle with the masters which are very difficult to surpass, if not to equal: we are talking about stereoscopy. And yet, once again, Mr. Braun remained original, despite the rules specific to the genre that it has adopted and the considerable number of works already produced, and it has kept its place outside the line, despite the merit of its predecessors. It cannot be said that he has gone beyond them, because he is walking on another path; he has not done better, because that is impossible; but he did one thing. His proofs on paper are not views, like those of MM. Ferrier, Soulier, Clouzard, Couppier, Bernoud, Grillet et al., nor animated scenes, like those which come from the English studio of MM. Gaudin; This __ of delightful pictures, true as nature, varied as fantasy, full of air, light and life. Mr. Braun is not only an experienced photographer, his compositions reveal in him the artist and the poet….”)]

“Assemblee Générale De La Société.” BULLETIN DE LA SOCIÉTÉ FRANÇAISE DE PHOTOGRAPHIE vol. 4 (May 1858): 113. [“Procès-verbal de la séance du la séance du 16 avril 1858.
M. Regnault, de l’Institut, Président de là Société, occupe le fauteuil.
Il est procédé au scrutin pour l’admission de trois nouveaux membres.
MM. Gabriel de Rumine, Dr Lorent, de Venise, Antony Thouret, sont recus membres de la Société.
MM. Camille de Silvy, Paul Delondre, Dubois de Nehaut, Ferrier, Couppier, Roger Fenton, Frank de Villecholes, Jeanrenaud, Nadar, Charles Nègre, Furne et Tournier font hommage à la Société d’épreuves destinées tant à sa collection qu’à la vente qui doit prochainement avoir lieu.
A cette occasion, M. le Président fait appel aux membres de la Société et les engage à envoyer, le plus tôt possible, leur contingent pour cette vente….” (p. 113.)
[(Minutes of the meeting of May 28, 1858.
M. Regnault, of the Institute, President of the Society, occupies the chair.
A ballot was taken for the admission of three new members.
MM. Gabriel de Rumine, Dr. Lorent, of Venice, Antony Thouret, are received as members of the Society.
MM. Camille de Silvy, Paul Delondre, Dubois de Nehaut, Ferrier, Couppier, Roger Fenton, Frank de Villecholes, Jeanrenaud, Nadar, Charles Nègre, Furne and Tournier pay homage to the Society with proofs intended both for its collection and for sale which is to take place soon.
On this occasion, the President appeals to the members of the Society and urges them to send, as soon as possible, their quota for this sale.
Mr. Paul Péhier declares in his own name, and in the name of a large number of members, that many proofs intended for sale, which could not be offered to the Society as of this day, will be offered within a very short time.”)]

“Assemblee Générale De La Société.” BULLETIN DE LA SOCIÉTÉ FRANÇAISE DE PHOTOGRAPHIE vol. 4 (June 1858): 153-154. [“Procès-verbal de la séance du la séance du 28 mai 1858.…”
“…M. Paul Périer rend compte à la Société des résultats de la vente qui vient d’avoir lieu soit qu’on les envisage au point de vue financier, soit qu’on apprécie leur portée morale et leurs conséquences pour l’art et l’industrie photographiques, ces résultats sont également satisfaisants.
La vente a fourni un produit brut d’environ 2400 francs, réduit par les frais à environ 1650 francs. La différence d’environ 500 francs que ce résultat présente en moins sur celui de la précédente vente, est cependant toute à l’avantage de la dernière. En effets, en 1857, la vente ayant eu lieu immédiatemeut à la clôture de notre Exposition, plusieurs œuvres exceptionnelles par leur importance avaient été offertes à la Société avec leurs encadrements. Ainsi la grande reproduction de la Cène de Léonard de Vinci par M. Sacchi de Milan, les grandes pages de M. Lorent de Venise, avec leurs cadres et leurs glaces de prix, plusieurs belles positives sur verre de M. Ferrier avaient à elles seules produit environ 500 francs. En outre, cette première vente comprenait 200 épreuves de plus que celle de cette année. Or en déduisant seulement ce produit exceptionnel de 500 francs, on trouve que les 650 épreuves de la première vente donnent une moyenne d’environ 3fr,25 tandis que pour les 450 épreuves de cette année la moyenne s’est élevée environ Ce résultat est plus que satisfaisant si on considère que, parmi les 450 épreuves offertes à la Société, un grand nombre de petites épreuves n’ont pour leurs auteurs euxmêmes et pour les marchands qu’une valeur commerciale de 2 et 3 francs.
Nous devons dire toutefois que de grandes variations se sont manifestées entre les prix d’adjudication.
Quelques épreuves, parmi lesquelles il est juste de citer en première ligne celles de M. Jeaurenaud puis celles de MM. Le Gray, Bisson, Baldus, Richebourg, comte Aguado, Bayard et Davanne (*), (*) M. Paul Périer rapporteur ue pouvait sans doute citer lui-mdme pou nom ici; mais la Commission a pensé qu’il n’était pas possible do le passer sous silence, car les épreuves de M. Paul Périer doivent être généralement mentiouuses parmi celles qui ont obtenu le plus grand et le plus légitime succès ont obtenu des prix souvent très-su-. (p. 153) përieurs, même ceux demandées par les auteurs ou les marchands dépositaires. Nous devons citer encore particulièrement diverses vues de MM. Fenton, Fortier, Loi-eiit; la collection si intéressante des reproductions d’objets microscopiques par M. Bertsch; plusieurs reproductions de gravures de M. le marquis de Bérenger la belle collection des reproductions du Musée céramique de Sèvres, par M. Robert; une importante collection de reproductions de tableaux anciens et modernes par M. Fierlants; la collection de portraits de célébrités contemporains par Nadar; divers paysages et études de MM. Pesme, Mailand, Delondre, Gaillard, Toulouse; des vues diverses d’Algérie et d’Espagne par M. le marquis de Noailles et M. Franck de Villechollcs; plusieurs reproductions de tableaux et gravures par MM. Furne fils et Tournier, et par M. Silvy; une collection curieuse de vues instantanées par M. Dubois de Nehaut. Nous ne pouvons oublier les spécimens si intéressants de gravure héliographique et de lithophotographie de M. Ch. Nègre et de M. Lemercier, non plus que les belles épreuves stéréoscopiques de M. Ferrier et de M. J. Couppier. Enfin nous devons mentionner encore plusieurs épreuves, vues, reproductions ou études par MM. Vallou de Villeneuve, Gerothwohl et Tanner, Hocédé du Tramblay, Gaumé, Henri de la Baume., Lacombe.
En résumé, par le résultat pécuniaire de la vente, la Société se trouvera cette année dégagée de toutes les obligations nées de ses dépenses de première installation, et son budget ne présentera plus dans la balance de fin d’année qu’un actif trèsréel dont les excédants progressifs pourront être appliqués à stimuler par de judicieux encouragements les progrès de la science et de l’art photographiques.
[“Mr. Paul Périer reports to the Society on the results of the sale which has just taken place, whether they are considered from the financial point of view, or whether their moral significance and their consequences for art and photographic industry, these results are also satisfactory.
The sale yielded gross proceeds of about 2400 francs, reduced by expenses to about tti5o francs. The difference of about 500 francs that this result represents less than that of the previous sale, is however entirely to the advantage of the last one. Indeed, in 1857, the sale having taken place immediately at the close of our Exhibition, several works of exceptional importance had been offered to the Society with their frames. Thus the large reproduction of the Last Supper by Leonardo da Vinci by M. Sacchi of Milan, the large pages of M. Lorent of Venice, with their expensive frames and mirrors, several beautiful positives on glass by M. Ferrier had their own alone produces about 500 francs. In addition, this first sale included 200 more proofs than this year’s.
We have to say, however, that there were great variations between auction prices.
A few proofs, among which it is fair to cite in the first place those of M. Jeaurenaud then those of MM. Le Gray, Bisson, Baldus, Richebourg, Count Aguado, Bayard and Davanne,* [* M. Paul Périer could no doubt cite himself by name here; but the Commission thought that it was not possible to pass over it in silence, for the proofs of M. Paul Périer must generally be among those which have obtained the greatest and most legitimate success.] have often obtained very high prices. Superior, (p. 153) even to those requested by authors or depositary merchants. We must also cite in particular various views of MM. Fenton, Fortier, Loi-eiit; the interesting collection of reproductions of microscopic objects by M. Bertsch; several reproductions of engravings by M. le marquis de Bérenger the beautiful collection of reproductions of the Ceramic Museum of Sèvres, by M. Robert; an important collection of reproductions of old and modern paintings by Mr. Fierlants; the collection of contemporary celebrity portraits by Nadar; various landscapes and studies by MM. Pesme, Mailand, Delondre, Gaillard, Toulouse; various views of Algeria and Spain by M. le marquis de Noailles and M. Franck de Villecholics; several reproductions of paintings and engravings by MM. Furne fils and Tournier, and by M. Silvy; a curious collection of snapshots by M. Dubois de Nehaut. We cannot forget the very interesting specimens of heliographic engraving and lithophotography by M. Ch. Nègre and M. Lemercier, nor the beautiful stereoscopic proofs of M. Ferrier and M. J. Couppier. Finally we must mention several more proofs, views, reproductions or studies by MM. Vallou de Villeneuve, Gerothwohl and Tanner, Hocédé du Tramblay, Gaumé, Henri de la Baume., Lacombe. reproductions or studies by MM. Vallou de Villeneuve, Gerothwohl and Tanner, Hocédé du Tramblay, Gaumé, Henri de la Baume., Lacombe. reproductions or studies by MM. Vallou de Villeneuve, Gerothwohl and Tanner, Hocédé du Tramblay, Gaumé, Henri de la Baume., Lacombe.
In short, by the pecuniary result of the sale, the Company will find itself this year released from all the obligations arising from its expenses for the first installation, and its budget will no longer present in the end-of-year balance anything but a very real asset whose progressive excesses may be applied to stimulate by judicious encouragement the progress of photographic science and art….” (p. 154)

1859

La Gavinie. “Chronique.” LA LUMIERE 9:17 (Apr. 23, 1859): 67. [“…Nous voulons faire une gracieuseté à nos lecteurs. Il s’agit d’une historiette de M. d’Audiger, publiée dans le Messager de Paris, et que nous allons reproduire, mais non sans préambule.
D’abord nous lui reprocherons de n’avoir pas du tout, mais du tout, le mérite de la nouveauté ; nous l’avons racontée déjà à notre manière, et elle avait été racontée sans aucun doute avant nous. Ensuite, elle a un petit côté réclame au bénéfice de M. Coupier. [sic Couppier, misspelled throughout the article. WSJ] Mais le soleil lui-même a des taches, et celle de chroniquer, une fois par semaine, n’est pas la plus agréable. Or donc, voici:
Un grand seigneur russe, il s’agit d’un Russe cette fois, flânait dernièrement sur le boulevard dans un magasin d’objets d’art, de photographies, etc: il avise un stéréoscope ; il y jette les yeux, et il est tout surpris de voir son propre château, un château magnifique qu’il possède à une heure de Moscou.
Etonné, il demande au marchand comment il a la vue de ce château, si c’est Jui-même qui l’a prise.
— Non, répond le marchand, je l’ai achetée à M. Coupier, l’habile photographe, celui qui réussit le mieux ces petites images du stéréoscope. U les fait avec une telle perfection qu’avec une loupe grossissant beaucoup, vons apercevriez jusqu’aux moindres détails de l’architecture, détails reproduits dans la photographie, mais qui vous échappent à cause de leur exiguité.
— Justement, dit le Russe, j’aperçois à une fenêtre ouverte du château deux personnes. Je serais curieux de voir si au moyen du grossissement on pourrait les reconnaître.
— Sans aucun doute, dit le marchand, et vous allez en avoir la preuve.
En disant ces mots, il alla chercher une loupe trèspuissante et la présenta au Russe.
Hélas ! le Russe ne reconnut que trop bien les personnages placés devantcette fenêtre ouverte ; c’étaient sa propre femme et son ami le plus intime, côte à côte, les bras enlacés dans la pose charmante, amoureuse et décente que Canova a donnée à l’Amour et Psyché dans son délicieux groupe de marbre.
Le Russe ne manifeste aucune émotion. Il achète la loupe, le stéréoscope et l’image révélatrice, se fait donner l’adresse de M. Coupier, se jette dans sa voiture et le voilà en route pour la rue ContrescarpeSaint-Marcel.
— Monsieur Coupier.
— C’est moi, monsieur.
— Serïez-vous assez bon pour répondre à quelques questions que j’ai à vous adresser?
— Parlez, monsieur.
— Vous connaissez ceci?
— Oui, monsieur, cela vient de chez moi.
— Est-ce vous-même qui avez pris cette image?
— Moi-même, monsieur, avec quatre-vingts autres vues que j’ai recueillies à Saint-Pétersbourg, à Moscou, etc., pendant mon dernier voyage en Russie.
— Pourriez-vous me dire à quelle époque vous avez pris cette vue?
— C’est très-facile, répond M. Coupier. Et consultant un agenda, il ajoute:
— Je l’ai prise le vingt-cinq juillet dernier.
Le Russe réfléchit, puis frappa du pied avec colère.
— Le misérable! dit-il; figurez-vous, monsieur, que cette image photographique m’a révélé une infâme trahison, dontje suis victime. Dans les premiers jours du mois de juillet dernier, je reçois une lettre du comte de K___, que je croyais mon meilleur ami. Il était à Hombourg; il m’écrivait qu’il avait la veine, qu’il avait trouvé une combinaison au moyen de laquelle nous étions sûrs de faire sauter la banque. Il me sait très-joueur ; il m’engageait donc très-vivement à aller le rejoindre, à» Hombourg.
C’est ce que je fis. Je partis pour Hombourg. J’y arrivai le 22 juillet. Mon ami n’y était plus; je trouvai une lettre de lui par laquelle il m’annonçait; qu’appelé à Nice par une maladie grave de sa mère, il était forcé de partir de Hombourg avant mon arrivée. Il me priait de l’attendre quelques jours.
Je l’attendis jusqu’au 5 août; ne le voyant pas revenir, je retournai à Moscou assez contrarié d’avoir fait ce grand voyage pour rien.
Or, pendant que je courais après lui à Hombourg et que je l’attendais, le traître prenait ma place dans mon château et auprès de ma femme.
— Qui peut vous faire croire?…
— Mais votre photographie; tenez, là, les voyezvous? Et, avec la loupe, il montrait les deux personnages placés devant une fenêtre.
M. Coupier voulut lui persuader qu’il pouvait se tromper, mais le Russe ne pouvait repousser le témoignage de ses propres yeux.
— Avez-vous beaucoup d’exemplaires de ce château? demanda le Russe.
— J’en avais tiré vingt douzaines d’épreuves, et je les ai encore ; je n’avais vendu que celle que vous avez achetée.
— Combien les vendez-vous?
— 48 fr. la douzaine.
— Voici 1,000 fr., rendez-moi 40 fr., et toutes vos épreuves sont à moi.
— J’ajouterai le cliché, ajouta M. Coupier, car puisqu’il s’agit d’une affaire de famille, je ne tirerai plus d’épreuves de cette vue.
— Oh! répondit le Russe, tirez-en tant que vous voudrez, je ne compte pas rougir de mon infortune.
Il partit emportant les fatales épreuves; il en a envoyé un exemplaire à chaque membre de sa famihe, à tous ses amis, avec la manière de s’en servir et un récit des faits qu’il a fait imprimer et qu’il joint à chaque’ exemplaire du dessin.
On n’avait pas encore songé à cet emploi de la photographie à la constatation du flagrant délit.
———
Voici l’anecdote ingénieuse du spirituel rédacteur du Messager de Paris. Nos lecteurs savent qu’elle a le mérite rare de pouvoir être possible. On se rappelle, en effet, qu’au moyen d’un microscope de Brewster, on a pu voir dans une épreuve stéréoscopique de M. Ferrier tous les détails d’une maison, dont l’image n’apparaissait à l’horizon que comme un grain de poussière. La Gavinie.”]
[“…We want to do a courtesy to our readers. It is a short story by M. d’Audiger, published in the Messager de Paris, and which we are going to reproduce, but not without a preamble.
First, we will reproach it for not having at all, but at all, the merit of novelty; we have already told it in our own way, and it had undoubtedly been told before us. Then, it has a small advertising side for the benefit of Mr. Coupier. But the sun itself has spots, and that of chronicling, once a week, is not the most pleasant. So here it is:
A great Russian lord, it is a Russian this time, was strolling recently on the boulevard in a store selling works of art, photographs, etc.: he sees a stereoscope; he casts his eyes there, and he is quite surprised to see his own castle, a magnificent castle which he owns an hour from Moscow.
Astonished, he asks the merchant how he has the view of this castle, if it is Jui himself who took it.
— No, replies the merchant, I bought it from M. Coupier, the skilful photographer, the one who takes these little stereoscopic images best. He does them with such perfection that with a very magnifying glass, you can see even the smallest details of the architecture, details reproduced in the photograph, but which escape you because of their exiguity.
— Exactly, said the Russian, I see two people at an open window of the chateau. I would be curious to see if by means of magnification we could recognize them.
‘Without a doubt,’ said the merchant, ‘and you will have proof of it.
Saying these words, he fetched a very powerful magnifying glass and presented it to the Russian.
Alas! the Russian recognized only too well the figures placed in front of this open window; it was his own wife and his most intimate friend, side by side, arms entwined in the charming, amorous, and decent pose which Canova struck in Cupid and Psyche in his delightful marble group.
The Russian shows no emotion. He buys the magnifying glass, the stereoscope and the revealing image, asks for Mr. Coupier’s address, jumps into his car and is on his way to rue Contrescarpe Saint-Marcel.
— Mr Coupier.
“It’s me, sir.
“Would you be good enough to answer a few questions I have for you?”
“Speak, sir.
“Do you know this?”
“Yes, sir, it comes from me.”
“Did you take this picture yourself?”
— Myself, sir, with eighty other views which I collected at St. Petersburg, Moscow, etc., during my last trip to Russia.
— Could you tell me when you took this view?
“It is very easy,” replied M. Coupier. And consulting a diary, he adds:
— I took it on the twenty-fifth of July last.
The Russian thought, then stamped his foot angrily.
The miserable! he said; Imagine, sir, that this photographic image revealed to me an infamous betrayal, of which I am the victim. During the first days of last July, I received a letter from the Comte de K…, whom I thought was my best friend. He was at Hombourg; he wrote to me that he was lucky, that he had found a combination by means of which we were sure to break the bank. 11
mô knows very playful; he urged me therefore very strongly to go and join him, at HoJnbDUVg.-i
That’s what I did. I left for Hamburg, and arrived there on July 22. My friend was no longer there; I found a letter from him by which he announced me; q was not called to Nice by a serious illness of his mother, he was forced to leave Hombourg before my arrival. He begged me to wait for him for a few days.
I waited until August 5; not seeing him come back, I returned to Moscow, rather annoyed at having made this great trip for nothing.
Now, while I was running after him at Hombourg and waiting for him, the traitor took my place in my castle and beside my wife.
“Who can make you believe?…
— But your photograph; here, do you see them? And, with the magnifying glass, he showed the two figures placed in front of a window.
M. Coupier wanted to persuade him that he could be wrong, but the Russian could not reject the testimony of his own eyes.
“Do you have many copies of this castle?” asked the Russian.
“I made twenty dozen proofs of it, and I still have them; I only sold the one you bought.
How much are you selling those?
—8 fr. the dozen.
— Here is 1,000 fr., give me back 0 fr., and all your proofs are mine.
“I’ll add the negative,” added M. Coupier, “because since it’s a family affair, I won’t be making any more proofs of that view.”
Oh! answered the Russian, shoot as much as you like, I don’t intend to blush at my misfortune.
He set out carrying the fatal ordeals; he sent a copy of it to each member of his family, to all his friends, with the manner of using it and an account of the facts which he had printed and which he attached to each copy of the drawing.
We had not yet thought of this use of photography to establish a flagrante delicto.
Here is the ingenious anecdote of the witty editor of the Messager de Paris. Our readers know that it has the rare merit of being possible. We remember, in fact, that by means of a Brewster microscope, we were able to see in a stereoscopic print by Mr. Ferrier all the details of a house, the image of which only appeared on the horizon like a speck of dust. LA Gavinie.”]

[Advertisement.] “A. Marion & Co.” ATHENAEUM no. 1644 (Apr. 30, 1959): 596.
[                                   “Manufacturing Stationers and Importers of Foreign-Fancy Goods,
52, Regent-street, London, W.
Paris —14, Cite Bergère.
N .B.—All Papers and Envelopes purchased at Messrs. A. Marion & Co.’s Establishment will be Stamped and Perfumed Free of Charge,
Marion’s Fancy Note Papers
All sorts of patterns embossed edges 2s. 6d. per 5 quires (Albert size) in an elegant case. Envelopes to match, 1s. 6d. per 100, in a box: Sent free by post.
Marion’s Wedding Stationery
Wedding orders executed with simplicity of style, combining taste and elegance.
Photographic Wedding Cards.
Marion’s Mourning Stationery
Black bordered papers, plain and fancy, thick and thin—Fancy Mourning Wafers.
Marion’s Overland Papers
Cream or blue, 1s. per 5 quires (sent free by post).—New patterns (six colours), with designs in the texture of the paper—Samples are forwarded free.
Marion’s Rose Leaf Note Paper
The thinnest note paper (10 sheets to the half-ounce), 1s. per 5 quires. free by post.
Marion’s Photographic Note Paper
Substitution of a Photographic Miniature for the stamping of initials—Particularly adapted for writing to friends abroad.
Marion’s Scenting Portfolio
And Blotting Book, for Perfuming Note Paper—Effect almost magical.—-20,000 holes through which the scent imparts its perfume to the paper.—A few seconds only are required for perfuming note and envelope—Price 1s. 6d., 2s. 6d., and 3s. 6d .—Sent free by post.
Marion’s Pencil Cutter
The first introduced in this country, possessing the immense advantage of allowing the blade to come off to be sharpened when required — Price 2s., by post 2s. 4d.
Marion’s Stamp Damper
For Moistening Stamps, 1s. 6d. plain china—A great variety of fancy patterns. Pocket Receipt stamp Damper.
Marion’s Pen Cleaner
Does not injure the nibs of the pen, and may be used as a paper-weight, 1s. 6d.
Marion’s Index, or Book-Marker
To find immediately the page and line required—1s. 6d. per box of 25 ; 1s. 10d. by post.
Marion’s Photographic Visiting Cards.
Before starting abroad, the best card to leave with your friends is the Photographic Visiting gawk—First 100, one guinea and a half; second 100, half-a-guinea. — The Photograph by Herbert Watkins.
Marion’s Photographic Wedding Cards.
Miniature Photographic Portraits or the “Happy Pair” (photographed by Herbert Watkins) are mounted in two elaborately-ornamented escutcheons, surrounded with orange-flower blossoms and love-knots stamped in silver, and the card forms a graceful and appropriate souvenir of the blissful event, peculiarly adapted for preservation.
Marion’s Photographic Wafers.
These Miniature Medallions are especially recommended for letters forwarded poste restante.
                                                            Marion’s Ball Programme
Messrs. A. Marion & Co. having been repeatedly asked for a Ball Program with Pencil, have just completed one which they hope will meet with the approbation of the Public and the patronage of Ladies—Specimens are forwarded on application.
The Best System for Copying LettersiIs Le Copiste Electro-Chimique,
By means of which the copy is performed Without a Press in less than half a minute, Extremely portable for travellers—From 12s. — Specimen Copy and Prospectus are sent on application.
Diaphanie,
Or, the Art of Decorating Windows, Blinds, Screens, Lamp Shades, &c.,
In Imitation of Stained Glass. By means of this new and very easy process, every one is enabled, at a slight cost, to Decorate Windows, &c., in perfect imitation of the of old Stained Glass. Instruction Book (Second Edition) 6d., postage free. N.B.—Messrs. A. Marion & Co. Will send (gratis) with the Instruction Book containing Etchings of all the Sheets published up to the present day.
The Best Playing Cards For Whist
Are the French Playing Cards.,
containing the double advantage of lightness and opacity. From 1s. 9d. per pack, duty included; by post 1s. 10d.
Paper Flower Making. Messrs.
A. Marion & Co. beg to announce that they have just completed some new Boxes for the Paper Flowers. each Box containing an assortment of materials for one sort of Flower, With directions and patterns. These Boxes are very elegant, and form a suitable present for young ladies.
Stereoscopes.
A considerable assortment of Stereoscopes of every kind for the Drawing Room, Pocket, or Travelling A Special Stereoscope for Illuminated Views.
                                                Stands for Stereoscopes. —— Boxes for the Views.
Stereoscopic Glass Views,
By Ferrier, Clouzard and Soulier, Couppier, &c. Paris, Switzerland, Germany, Rhine, Italy, Pyrenees, Spain, Russia, &c. &c. An immense assortment of all sorts.
Illuminated Stereoscopic Views.
These beautiful Views are especially recommended for Evening Parties. Interiors of Palaces. ‘Tuileries, St. Cloud, Compiegne, &; Railroad with Engine full speed; the House on Fire, the Comet of 1858, the Interior of a Forge, the Cat asleep, &c. &c. &c.; illuminated Flowers, &c. — A considerable assortment of all sorts.
                                                            Microphotographs.
Messrs. A. Marion & Co. have just received from Paris a new Microscope, which may be used with the greatest facility even by children, the focus being immediately met with—Price Half-a-Guinea, in a mahogany box, with room for the views. —— Microphotographs in great variety, from 2s. each—Usual preparations for Microscopes, such as Insects, Plants, Hairs, &e., 6d. each. — Wholesale and retail.
                                                Photographic Papers, Plain and Prepared.
A Special List is sent on application.
                                                                Real Bronzes.
Albums.                 Card Cases.         Fans.              Netting Boxes.               Pen Trays.         Shades {Lamp & Candle).
Almanacks.            Cigar Cases.        Glove Boxes.   Papeteries.                   Pocketbooks     Spectacle Cases.
Bags.                     Cover For Lamps. Inkstands.       Paper Knives.               Portemonnaies. Tablets.
Blotting Cases.       Curling Papers.     Jewel Boxes.  Pens.                           Reticules.           Tea Caddies.
Book Markers.         Daggers.               Lip Glue.        Pencils.                        Seals.                Vine Leaves.
Ditto Photographic  Desks.                  Matches.        Penholders.                              Sealing Wax.      Wafers.
Bouquet Papers.     Dessert Papers.    Memorandum Books. Penmakers.       Scent Cases.      Watch Stands.
Candle Ornaments. Envelope Cases.  Music Papers. Paper Weights.             Screen Handles. Work Boxes.
Catalogues are forwarded on application.
Papeterie Marion,
152, Regent-Street, London, W.
                                                                 Wholesale and Retail.”
[This same advertisement was also published in The Court Journal and Fashionable Gazette. No. 1583 (May 21, 1859): 432, and probably elsewhere. WSJ]

La Blanchère, Henri de. Répertoire encyclopédique de photographie: comprenant par ordre alphabétique tout ce qui a paru et paraît en France et à l’étranger depuis la découverte par Niepce et Daguerre de l’art d’imprimer au moyen de la lumière, et les notions de chimie, physique et perspective qui s’y rapportent. v.1. Paris: Bureau de rédaction, 1862.
[“…568.  Épreuves Négatives sur Verre albuminé: (Couppier, 1852). (Phot.)
§ 1 . La préparation de l’albumine négative est d’une grande simplicité. On prend des blancs d’œufs (1021) purs de toute parcelle de jaune et de germe, soit:
Albumine (46)                           100 gr.
Eau distillée                                25
lodure de potassium (848)             1
Après la dissolution de l’iodure de potassium, on bat le méhange avec une fourchette de bois ou un balai de brins de bouleau, jusqu’à consistance de mousse épaisse, pour détruire les matières filandreuses que contient l’albumine. On laisse reposer à l’abri de la poussière et, après quelques heures, on trouve sous la mousse un liquide visqueux qui est r albumine reposée, étendue d’un peu d’eau. (p. 350) On reçoit ce liquide dans nn vase propre, en le débarrassant le plus possible de la. mousse qui surnage, et on l’applique sur la glace. On ne peut pas conserver cette albumine plus de 24 heures en été. § 2. La glace doit être parfaitement propre et débarrassée de tout corps gras. On aura soin de la passer à l’alcool (08) ou à l’ammoniaque (91). Si elle porte déjà une couche d’albumine, onia plonge quelques minutes dans un bain de potasse caustique (1209) à 100/q d’eau. L’albumine s’enlève, on lave encore dans le bain de potasse, on passe à l’eau acidulée d’acide azotique (1002), puis on la laisse sécher. La meilleure manière de tenir la glace pour ralbuminer, est la suivante: A l’extrémité d’un manche de bois de 0“.20 de long sur 0“.03 ou 0™.04 de diamètre, on met une légère couche de gutta-percha (765), et après avoir posé les glaces sur un coussin de papier bien propre, on chaulfe la gutta-percha du manche, et on l’applique sur l’envers des glaces et au milieu. La gutta étant refroidie, on enlève la glace par ce manche. On ôte la poussière qu’elle peut porter, avec une peau de daim souple et propre: § 3. L’a/6ammape des glaces doit se faire dans un appartement sans poussière, autant que possible; on tient la glace horizontalement par son manche, et on verse dessus une petite quantité d’albumine préparée et parfaitement limpide. A l’aide d’un léger mouvement et d’une baguette de verre (127), on recouvre toute la surface de la glace; on enlève l’excès en laissant écouler par un angle, et on imprime alors, avec le manche, entre les deux mains, un mouvement de rotation qui, développant la force centrifuge, égalise parfaitement la couche encore visqueuse. Quand l’albumine est bien étendue, on détache le manche ou mandrin par torsion, et on laisse sécher à l’abri de la poussière. On place ordinairement ces glaces dans une boîte (178). § 4. Sensibilisation. Prenez ; Nitrate d’argent (983) 10 gr. Acide acétique cristallisable (19) 10 Eau distillée 100 Le nitrate d’argent doit être neutre. On conserve ce bain à l’obscurité. On met une certaine quantité du bain dans une cuvette, et on y plonge la glace, le côté albuminé en contact avec la surface du liquide. Cette immersion se fait d’un mouvement régulier, en évitant l’interposition des bulles d’air. L’immersion doit durer 25″ à 30″, on lave alors abondamment. Une fois séchées, les glaces peuvent être employées après 8 ou 10 jours. On peut aussi leur rendre la sensibilité qu’elles auraient perdue, en reconmençcLnt ce bain et les lavages. (p. 351)
[(… 568. — Negative Prints on albumen glass: (Coupier, 1852). (Photo.) § 1 . The preparation of negative albumin is very simple. We take egg whites (1021) pure of any particle of yolk and germ, that is: Albumin (46) 100 gr. Distilled water 25 potassium iodide (848) 1 After the potassium iodide has dissolved, the mixture is beaten with a wooden fork or a broom of birch twigs, until the consistency of a thick foam, to destroy the stringy materials What does albumin contain? It is left to rest sheltered from dust and, after a few hours, a viscous liquid is found under the foam, which is rested albumen, diluted with a little water.
This liquid is received in a clean vase, freeing it as much as possible of the. foam that floats, and it is applied to the ice. This albumin cannot be kept for more than 24 hours in summer. § 2. The ice must be perfectly clean and free of any greasy substances. Care will be taken to pass it with alcohol (08) or ammonia (91). If it already has a layer of albumen, onia plunges a few minutes into a bath of caustic potash (1209) at 100/q of water. The albumen is removed, washed again in the potash bath, passed to water acidulated with nitric acid (1002), then left to dry. The best way to hold the ice cream for scraping is as follows: At the end of a wooden handle 0“.20 long by 0“.03 or 0™.04 in diameter, we put a light layer of gutta-percha (765), and after having placed the glasses on a very clean paper cushion, we heat the gutta-percha of the handle, and we apply it on the back of the glasses and in the middle . The gutta being cooled, the ice is removed by this handle. We remove the dust that it can carry, with a soft and clean deerskin: § 3. The a/6ammape of the mirrors must be done in an apartment without dust, as much as possible; hold the glass horizontally by its handle, and pour over it a small quantity of albumen prepared and perfectly limpid. Using a slight movement and a glass rod (127), the entire surface of the glass is covered; we remove the excess by letting it run out at an angle, and we then print, with the handle, between the two hands, a rotational movement which, developing the centrifugal force, perfectly equalizes the still viscous layer. When the albumen is well extended, the handle or mandrel is detached by twisting, and allowed to dry in a dust-free place. These ice creams are usually placed in a box (178). § 4. Awareness. Take ; Silver nitrate (983) 10 gr. Glacial acetic acid (19) 10 Distilled water 100 Silver nitrate must be neutral. This bath is kept in the dark. A certain quantity of the bath is put in a basin, and the ice is plunged into it, the albuminous side in contact with the surface of the liquid. This immersion is done with a regular movement, avoiding the interposition of air bubbles. The immersion must last 25″ to 30″, then wash thoroughly. Once dried, the ice creams can be used after 8 or 10 days. We can also give them back the sensibility they would have lost, by resuming this bath and the washes. (p. 363)

Catalogue Officiel. Publié par ordre Commission Impériale. Paris: E. Panis, 1855. 2 ed. 3 p. l., [iii]-lxii p., 1 l., 544 p. 21
“                                                                       Empire Français. “
9113 Popineau (J.-B.-M.), à Marseille Bouchesdu-Rhônel. Gravures en relief sur métal.
9114 Remond (Cl.-J.-N.), à Paris, r. des Noyers, 65. Impression en taille-douce en couleur sur cuivre et acier. Reproductions artistiques et scientifiques. B. 1849.
9115 Riester (M.), à Paris, r. St-Antoine, 222. -Dessins pour la sculpture et l’orfévrerie; épreuves de gravure en taille-douce; coffret à bijoux gravé, elselé et sculpté.
9116 Riffaut (Ad.), à Paris, r. de Fleurus, 27. Gravures héliographiques sur acier. Reproduction de portraits et monuments. Gravure en noir et en couleurs.
9117 Salle (E.), à Paris, r. du Jardinet, 3.Épreuves de gravure sur papier de Chine.
9118 Saunier (Th.-M.), à Montrouge (Seine). Epreuves de billets de banque gravées en relief sur acier; papier pour billets de banque. MH 1834, 1839. B 1849.
9119 Schonenberger, à Paris, Bd Poissonnière, 28.Musique gravée; ouvrages imprimés sur l’art musical, en français et en espagnol. CF 1839, 1844. MH 1849.
9120 Sicard (Ch.), à Tours (Indre-et-Loire). Cachets; médailles et timbres gravés.
9121 Tantenstein & Cordel, à Paris, r. de la Harpe, 92.Livres et feuilles d’impression. Ca. ractères de musique. B 1839. A 1844, 1849.
9122 Texier (V.), à Paris, r. St-Honoré, 350.Musée de sculpture antique et moderne. Planches gravées en taille-douce. CF 1834.
9123 Thomas (A.), à Paris, r. Notre-Dame-de Nazareth, 25. Cartes à jouer françaises et étrangères. 1
9124 Vialon (Ant.), à Paris, r. Bergère, 31. Dessins et gravures sur étain pour frontispices de musique et de librairie. Spécimens de musique vocale en chiffres. MH 1844, 1849.
9125 Villerey (N.-A.), à Paris, r. des Noyers, 24.Epreuves de lettres de change, actions de chemins de fer, actions de sociétés, sur papier. MH 1844, 1849. 4. Section.
9126 Adam, à Colmar (Haut-Rhin). — Épreuves photographiques. Épreuves
9127 Bacot, à Caen (Celvados). photographiques.
9128 Baldus (Ed.), à Paris, r. du Bac, 111.Épreuves photographiques.
9129 Bayard (Hip.), à Paris, r. du Port-Mahon, 14. Épreuves photographiques d’après des clichés; épreuves négatives sur papier et sur verre. A 1849. # 9130 Belloc (A.), à Paris, r. de Lancry, 16. Epreuves photographiques par le collodion. à 9131 De Bérenger (marquis R.-Ism.-M.), Paris, pl. du Palais-Bourbon, 4. Épreuves photographiques faites sur papier ciré. 9132 Bertsch (A.), à Paris, r. Fontaine-St. Georges, 27. Épreuves photographiques d’après nature et d’après des dessins. 9133 Bilordeaux (Ad.), à Paris, r. Fontaine-auBoi, 59. Épreuves photographiques négatives sur papier. Lithographies imitant la photographie.
9134 Bingham (R.-J.), à Paris, r Choiseul, 22. Portraits par la photographie sans retouche.
9135 Bisson frères, à Paris, r. Garancière, 8. Épreuves photographiques sur papier; reproduction de vues, de monuments, de bronzes, de dessins. Panorama de Paris, de 1 m. 50 sur 50 c.; place de la Concorde, de 1 m. sur 80 c., etc
9136 Boitouzet (J.-E.-Fr.), à Paris, r. St-MarcFeydeau, 6.Épreuves photographiques sur papier, au collodion et sur verre.
9137 Bougenier (H.), à Paris, r. Ste-MargueriteSt-Germain, 35. — Épreuves photographiques.
9138 Bourquin (J.-P.), à Paris, Bd de Strasbourg, 20. Appareils pour la photographie.
9139 Bousseton (Alph.), à Nantes (Loire-Infé rieure). Épreuves de photographie.
9140 Bulkley-Greene (J.), à Paris, r. de la Grange-Batelière, 10.-Épreuves photographiques.
9141 Couppier (J.), à Paris, r. St-Victor, 15. Épreuves stéréoscopiques sur verre et sur papier. Epreuves photographiques.
9142 Cousin (Ch.), à Paris, r. de Chaillot, 56. Epreuves photographiques.
9143 Cuvelier (A.), à Arras (Pas-de-Calais). Épreuves de photographie.
9144 Dartois (Et.), à Besançon (Doubs). -Ap pareil de photographie.
9145 Dejonge (Fr.), à Paris, r. de Seine, 82.-Séréoscope. Épreuves photographiques
9146 Delessert (B.), à Passy, pr. Paris. Estampes rares reproduites par la photographie et la gravure héliographique. 9147 Disdéri & Cie, à Paris, Bd des Italiens, 8. Portrai s photographiques sur papier en noir et coloriés, sur verre et sur plaque. Stéréoscopes Beproductions industrielles. Produits chimiques pour la photographie.
9148 Ferrier (Cl.), à Paris, r. Coquillière, 8. — Épreuves photographiques sur verre et sur papier.
9149 Fixon (E.), à Paris, r. Vivienne, 33. — Portraits au daguerréotype sur plaques.
9150 Fortier (Fr.-Alph.), à Paris, r. des StsPères, 65.Épreuves photographiques obtenues à l’aide de clichés sur glace albuminée
9151 Fournier & Gardel, à Limoges (HauteVienne). Portraits photographiques, coloriés à l’huile.
9152 Gaudin (A1.) & frère, à Paris, r. de la Perle, 9.Plaques de daguerréotype de double d’argent. Boltes pour la photographie. Encadrements. Sel d’or.
9153 Gaumé, au Mans (Sarthe). photographiques. Épreuves
9154 Gerothwohl & Tanner, à Paris, r. Louisle-Grand, 29. — Épreuves photographiques avec ou sans retouche.
9155 Giroux (And ), à Paris, r. Cadet, 9. — Épreuves photographiques. ――
9156 Guesné (J.-M.), à Paris, r. de l’Est. 35. — Épreuves photographiques négatives sur collod on et sur papier; épreuves photographiques positives sur verre.
9157 Heilmann (J.-J.), à Pau (Basses-Pyrénées). Epreaves photographiques noires et coloriees. (p. 192).
9153 Humbert de Molard (L.-A.), à Paris, r. Meslay, 13. Chambres noires optiques d’un transport facile en voyage.
9159 Kock (G.-L.), à Paris, impasse Guémenée, 8. Chan.ores noires pour la photographie.
9160 Lamiche (Fr.-B.), à Paris, r. du PontLouis-Philippe, 14.Épreuves photographiques sur papier et sur plaqnes. Stéréoscope.
9161 Laverdet M.-G.), à Paris, r. Ste-Anne, 57. Epreuves photographiques peintes à l’huile.
9162 Lécu (Fr.-N.) & Richy (E.), à Paris, r. St. Cuvettes de terre Etiese Bunne-Nouvelle, 5. — porense et de glace pour la photographie.
9163 Le Gray J.-B.-G.), à Paris, ch. de ronde de la barr de Clichy, 7.Épreuves photographiques sur collodion, sur papier ciré: portraits: tableaux à l’huile reproduits par la photographie. B 1849.
9164 Le Secq (H.), à Paris, q. Bourbon, 35. Epreuves photographiques. Monographies des plus beaux monuments gothiques du moyen-âge. Reproductio is de tableaux peints à l’huile.
9165 Lespiault fils, à Nérac (Lot-et Garonne). -Mode de chambre noire modifiée; épreuves plutocranbiques.
9166 Martens (Fr.), à Paris, r. Bonaparte, 84. -Epreuves photographiques sans retouches; épreuves retouchées. A 1849. 9167 Mayer frères, à Paris, r. Vivienne, 48.Épreuves photographiques sur papier, plaque et verre. B 1×49.
9168 Billet (D.-Fr.), à Paris, r. de Montesquieu, 6.Epreuves photographiques positives, émaillées et inaltérables, sur verre, plaques, tolle et papier. Épreuves photo
9169 Moulin (F.), à Paris. graphiques d’après nature. Épreuves stéréoscopiques
9170 Négre (Ch.), à Paris, q. Bourbon, 21. Epreuves photographiques: gravures héliographiques: gravure héliotypographique.
9171 Niepce de Saint-Victor M.-C.-F.) à Paris Epreuves photographiques sur verre et sur Brier
9172 D’Olivier (L.) & Cie, à Paris, r. de la PépiDiere, 18.Épreuves photographiques sur papier, sur toile et sur verre. Portraits sans retouches; portraits à l’aquarelle; portraits coloriés.
9173 Persus (N.). à Paris, r. de Seine, 47. — Epreuves photographiques sans retouches.
9174 Pierson (P.-L.), à Paris, Bd des Capucines, 13 Portraits photographiés.
9175 Plumier (V.), à Paris, r. Vivienne, 36. Portraits photograph ques sur plaques argentées et sir papier.
9176 Quinet (A.-M.), à Paris, r. St-Honoré, 166. -Appareils photographiques; presses pour la llthographie et la typographie; épreuves photographiques, lithographiques et typographiques. B 1839
9177 Relandin (Ch.), à Paris, Impasse St-Sébastien, 2.-Chambre noire pour la photographie avec Ded et chassis,
9178 Renard, à Bourbonne-les-Bains (HauteMarne). Epreuves de photographic.
9179 Reutlinger (Ch.), à Paris, r. de Richelieu, 112.-Portraits photographiques.
9180 Sabatier (B.), à Paris, Bd Beaumarchais, 5. Épreuves daguerriennes sur plaques argentées, sur verre et sur papier.
9181 Sabatier (II.), à Paris, Palais-Royal, 65. Épreuves daguerriennes sur plaque et sur papier.
9182 Schiertz (J.-G.), à Paris, r. de la Huchette, 27. Chambre noire pour photographic avec pieds et support. B 1844. A 1849.
9183 Soulier & Clouzard, à Paris, r. St-Andrédes-Arts, 47.-Epreuves photographiques sur verre pour vitraux et pour stéréoscope; gravures héliographiques sur acier. Peintures photographiques sur verre.
9184 Thierry (J.-P.), à Lyon (Rhône). — Éprenves de daguerréotype.
9185 Thompson (Warren), à Paris, r. de Choiseul, 22.Epreuves daguerriennes, épreuves photographiques de grandes dimensions. Stéréoscopes. B 1849.
9186 Truchelut (J.-N.), à Besançon (Doubs). Épreuves de photographie sur toile. Instrument à laver les parquets. Puech (L.), à Paris, pl. de la Madeleine, 24-Appareils pour la photographie. (Voir d. 10.)

9187 Vaillat (And.-Cl.-E.), à Paris, Palais-Royal, 44. Portraits photographiés. MHI 1844. B 1849.
9188 Vincent (H.-L.), à Tours (Indre-et-Loire). Epreuves photographiques sur verre.
9189 Wulff & Cie, à Paris, r. Charlot, 57. Épreuves photographiques sur toile; reproduction de gravures, statues et objets d’art. Portraits d’après nature.
                                                                        5^e Section.
9190 Belhoste aîné (Ern.), à Paris, r. St-Martin Fleurs, feuillages, etc., sculptés en ivoire plein et à jour. Portraits en ivoire dans un cadre d’ébène. Cor d’ivoire.
9191 Betbeder (P.-A1.-M.), à Soissons (Aisne). Reliquaire de bois et cire sculptés et dorés. Tryptique de cire sculptée et dorée. Reproduction des flèches de St-Jean-des-Vignes, faite de bois et cire sculptés et dorés.
9192 Bonnesseur (Ch.-A.), à Paris, r. St-Clande, 26.-Rosace de St-Ouen de Rouen, sculptée sur bois.
9193 Cavasse, au Puy (IIaute-Loire).Médaillon de plâtre sculpté.
9194 Gagnery (J.-Ant.), à Changy (Seine-etMarne).Mannequins à nouveau système d’armature. MHI 1849.
9195 Gencin (P.-M.), à Poitiers (Vienne).-Collection de champignons modelés en cire et coloriés d’après nature. 9196 Guétrot (R.-Fr.), à Melle (Deux-Sèvres).Plâtre steariné; bustes et médaillons de plstre stéariné, moulés, sculptés et ciselés.
9197 Leblond (J.-D.), à Paris, r. St-Louis, au Marais, 5. Mannequins mi-caoutchouc. A 1849.
9198 Lecavelier, à Caen (Calvados). duction de médailles antiques. (Voir cl. 11.)
9199 Lhoest (Cl.-V.), à Paris, r. Fontaine-an – ….” (Etc., etc.) (p. 193)]
[(                                                                      “French Empire.”
9113 Popineau (J.-B.-M.), in Marseilles Bouches-du-Rhônel. Embossed engravings on metal.
9114 Remond (Cl.-J.-N.), in Paris, r. des Noyers, 65. Color intaglio printing on copper and steel. Artistic and scientific reproductions. B. 1849.
9115 Riester (M.), in Paris, r. St-Antoine, 222. -Drawings for sculpture and goldsmithing; intaglio prints; jewelry box engraved, elselé and sculpted.
9116 Riffaut (Ad.), in Paris, r. de Fleurus, 27. Heliographic engravings on steel. Reproduction of portraits and monuments. Black and color engraving.
9117 Room (E.), in Paris, r. du Jardinet, 3. Engraving proofs on China paper.
9118 Saunier (Th.-M.), in Montrouge (Seine). Proofs of banknotes engraved in relief on steel; paper for banknotes. MH 1834, 1839. B 1849.
9119 Schonenberger, in Paris, Bd Poissonnière, 28.Engraved music; printed works on the art of music, in French and in Spanish. CF 1839, 1844. MH 1849.
9120 Sicard (Ch.), in Tours (Indre-et-Loire). Stamps; engraved medals and stamps.
9121 Tantenstein & Cordel, in Paris, r. de la Harpe, 92. Books and printed sheets. Ca. musical characters. B 1839. A 1844, 1849.
9122 Texier (V.), in Paris, r. St-Honoré, 350.Museum of ancient and modern sculpture. Plates engraved in intaglio. CF 1834.
9123 Thomas (A.), in Paris, r. Notre-Dame-de-Nazareth, 25. French and foreign playing cards. 1
9124 Vialon (Ant.), in Paris, r. Bergère, 31. Drawings and engravings on pewter for frontispieces of music and books. Specimens of vocal music in figures. MH 1844, 1849.
9125 Villerey (N.-A.), in Paris, r. Walnuts, 24. Proofs of bills of exchange, railway shares, company shares, on paper. MH 1844, 1849.
4th. Division.
9126 Adam, in Colmar (Haut-Rhin). — Photographic prints. Proofs
9127 Bacot, in Caen (Celvados). photographic.
9128 Baldus (Ed.), in Paris, r. du Bac, 111.Photographic prints.
9129 Bayard (Hip.), in Paris, r. du Port-Mahon, 14. Photographic prints from pictures; negative prints on paper and glass. A 1849.
9130 Belloc (A.), in Paris, r. de Lancry, 16. Collodion photographic prints. at
9131 De Bérenger (marquis R.-Ism.-M.), Paris, pl. du Palais-Bourbon, 4. Photographic prints made on waxed paper.
9132 Bertsch (A.), in Paris, r. Fontaine-St-Georges, 27. Photographic prints from nature and from drawings.
9133 Bilordeaux (Ad.), in Paris, r. Fontaine-au-Boi, 59. Negative photographic prints on paper. Lithographs imitating photography.
9134 Bingham (R.-J.), in Paris, r Choiseul, 22. Portraits by photography without retouching.
9135 Bisson brothers, in Paris, r. Garancière, 8. Photographic prints on paper; reproduction of views, monuments, bronzes, drawings. Panorama of Paris, 1 m. 50 by 50 c.; Place de la Concorde, 1 m. on 80 c., etc.
9136 Boitouzet (J.-E.-Fr.), in Paris, r. St-Marc-Feydeau, 6.Photographic prints on paper, collodion and glass.
9137 Bougenier (H.), in Paris, r. Ste-Marguerite-St-Germain, 35. — Photographic prints.
9138 Bourquin (J.-P.), in Paris, Bd de Strasbourg, 20. Cameras for photography.
9139 Bousseton (Alph.), in Nantes (Loire-Lower). Photographic proofs.
9140 Bulkley-Greene (J.), in Paris, r. de la Grange-Batelière, 10.-Photographic prints.
9141 Couppier (J.), in Paris, r. St-Victor, 15. Stereoscopic prints on glass and on paper. Photographic prints.
9142 Cousin (Ch.), in Paris, r. de Chaillot, 56. Photographic proofs.
9143 Cuvelier (A.), in Arras (Pas-de-Calais). Photographic proofs.
9144 Dartois (Ed.), in Besançon (Doubs). -Similar photography device.
9145 Dejonge (Fr.), in Paris, r. de Seine, 82.-Sereoscope. Photographic prints
9146 Delessert (B.), in Passy, pr. Paris. Rare prints reproduced by photography and heliographic engraving.
9147 Disdéri & Cie, in Paris, Bd des Italiens, 8. Photographic portraits on black and colored paper, on glass and on plate. Stereoscopes Beindustrial productions. Chemicals for photography.
9148 Ferrier (Cl. ), in Paris, r. Coquillière, 8. — Photographic prints on glass and on paper.
9149 Fixon (E.), in Paris, r. Vivienne, 33. — Daguerreotype portraits on plates.
9150 Fortier (Fr.-Alph.), in Paris, r. des Sts-Pères, 65.Photographic prints obtained using negatives on albumen ice
9151 Fournier & Gardel, in Limoges (Haute-Vienne). Photographic portraits, colored in oil.
9152 Gaudin (A1.) & brother, in Paris, r. de la Perle, 9.Silver double daguerreotype plates. Bolts for photography. Frames. Gold salt.
9153 Gaumé, in Le Mans (Sarthe). photographic. Proofs
9154 Gerothwohl & Tanner, in Paris, r. Louis-le-Grand, 29. — Photographic prints with or without retouching.
9155 Giroux (And), in Paris, r. Cadet, 9. — Photographic prints. ――
9156 Guesné (J.-M.), in Paris, r. from the east. 35. — Negative photographic prints on collod on and on paper; positive photographic prints on glass.
9157 Heilmann (J.-J.), in Pau (Basses-Pyrénées). Black and colored photographic prints. (p. 192)
9158 Humbert de Molard (L.-A.), in Paris, r. Meslay, 13. Optical darkrooms for easy transport when travelling.
9159 Kock (G.-L.), in Paris, impasse Guémenée, 8. Black channels for photography.
9160 Lamiche (Fr.-B.), in Paris, r. du Pont-Louis-Philippe, 14.Photographic prints on paper and on plates. Stereoscope.
9161 Laverdet M.-G.), in Paris, r. Ste-Anne, 57. Photographic prints painted in oil.
9162 Lécu (Fr.-N.) & Richy (E.), in Paris, r. St. Etiese Bunne-New Earth Cuvettes, 5. — porense and ice for photography.
9163 Le Gray J.-B.-G.), in Paris, ch. round the barr de Clichy, 7.Photographic prints on collodion, on waxed paper: portraits: oil paintings reproduced by photography. B 1849.
9164 Le Secq (H.), in Paris, q. Bourbon, 35. Photographic prints. Monographs of the most beautiful Gothic monuments of the Middle Ages. Reproduction of pictures painted in oil.
9165 Lespiault fils, in Nérac (Lot-et-Garonne). Modified darkroom mode; plutocranbic tests.
9166 Martens (Fr.), in Paris, r. Bonaparte, 84. -Photographic prints without retouching; retouched proofs. A 1849.
9167 Mayer brothers, in Paris, r. Vivienne, 48.Photographic prints on paper, plate and glass. B 1×49.
9168 Ticket (D.-Fr.), in Paris, r. de Montesquieu, 6.Positive, enamelled and unalterable photographic prints, on glass, plates, tolle and paper. Photographic prints
9169 Moulin (F.), in Paris. graphics from life. Stereoscopic prints
9170 Négre (Ch.), in Paris, q. Bourbon, 21. Photographic prints: heliographic engravings: heliotypographic engraving.
9171 Niepce de Saint-Victor M.-C.-F.) in Paris Photographic prints on glass and on Brier
9172 D’Olivier (L.) & Cie, in Paris, r. de la Pépi-Diere, 18.Photographic prints on paper, canvas and glass. Portraits without retouching; watercolor portraits; colored portraits.
9173 Persus (N.). in Paris, r. de Seine, 47. — Photographic proofs without retouching.
9174 Pierson (P.-L.), in Paris, Bd des Capucines, 13 Photographed portraits.
9175 Plumier (V.), in Paris, r. Vivienne, 36. Photographic portraits on silver plates and on paper.
9176 Quinet (A.-M.), in Paris, r. St-Honoré, 166. -Cameras; presses for lithography and typography; photographic, lithographic and typographical prints. B 1839
9177 Relandin (Ch.), in Paris, Impasse St-Sébastien, 2.-Dark room for photography with Ded and frame,
9178 Renard, in Bourbonne-les-Bains (Haute-Marne). Photographic proofs.
9179 Reutlinger (Ch.), in Paris, r. de Richelieu, 112.-Photographic portraits.
9180 Sabatier (B.), in Paris, Bd Beaumarchais, 5. Daguerrian proofs on silver plates, on glass and on paper.
9181 Sabatier (II.), in Paris, Palais-Royal, 65.Daguerrian prints on plate and on paper.
9182 Schiertz (J.-G.), in Paris, r. de la Huchette, 27. Darkroom for photography with legs and support. B 1844. A 1849.
9183 Soulier & Clouzard, in Paris, r. St-André-des-Arts, 47.-Photographic prints on glass for stained glass and for stereoscope; heliographic engravings on steel. Photographic paintings on glass.
9184 Thierry (J.-P.), in Lyon (Rhône). — Daguerreotype prints.
9185 Thompson (Warren), in Paris, r. by Choilone, 22. Daguerrian prints, large-scale photographic prints. Stereoscopes. B 1849.
9186 Truchelut (J.-N.), in Besançon (Doubs). Photographic prints on canvas. Instrument for washing floors. Puech (L.), in Paris, pl. de la Madeleine, 24-Cameras for photography. (See d. 10.)
9187 Vaillat (And.-Cl.-E.), in Paris, Palais Royal, 44. Photographed portraits. MHI 1844. B 1849.
9188 Vincent (H.-L.), in Tours (Indre-et-Loire). Photographic prints on glass.
9189 Wulff & Cie, in Paris, r. Charlot, 57. Photographic prints on canvas; reproduction of engravings, statues and works of art. Portraits from life.
5 Division.
9190 Belhoste elder (Ern.), in Paris, r. St-Martin Flowers, foliage, etc., sculpted in full and open ivory.Ivory portraits in an ebony frame. French horn ivory.
9191 Betbeder (P.-A1.-M.), in Soissons (Aisne). Reliquary of carved and gilded wood and wax. Triptych of sculpted and gilded wax. Reproduction of the arrows of St-Jean-des-Vignes, made of carved and gilded wood and wax.
9192 Bonnesseur (Ch.-A.), in Paris, r. St-Claude, 26.-Rose window of St-Ouen de Rouen, carved on wood.
9193 Cavasse, at Puy (IIaute-Loire).Sculpted plaster medallion.
9194 Gagnery (J.-Ant.), in Changy (Seine-et-Marne).Mannequins with new reinforcement system. MHI 1849.
9195 Gencin (P.-M.), in Poitiers (Vienne).-Collection of mushrooms modeled in wax and colored from nature.
9196 Guétrot (R.-Fr.), in Melle (Deux-Sèvres).Stearin plaster; busts and medallions of stearinated plaster, moulded, sculpted and chiselled.
9197 Leblond (J.-D.), in Paris, r. St-Louis, in the Marais, 5. Semi-rubber mannequins. In 1849.
9198 Lecavelier, in Caen (Calvados). duction of antique medals. (See cl. 11.)
9199 Lhoest (Cl.-V.), in Paris, r. Fontaine-anItepro13 – …(p. 193) (Etc., etc.)]

“Foreign Correspondence.” BRITISH JOURNAL OF PHOTOGRAPHY 11:222 (Aug. 5, 1864): 285.
[“Paris, August 1st, 1864.” “I had lately the pleasure of paying a visit to the atelier of MM. Ferrier, fils, and Soulier, Boulevard de Sebastopol, No. 113, and of examining a number of beautiful glass stereoscopic slides, printed on albumen. The novelties consist of new instantaneous views of Paris, marine views, and views entitled “Effets de Lune ,” otherwise commonly called moonlight views. I felt considerable interest in examining the new stereographs ; for, on dit , that the establishment, with all the negatives, positives, working stock, and clientelle has been sold to M. Lionel Levy, a clever and enterprising gentleman, who had been engaged in the house a certain time, the price being some 200,000 francs (£8,000). The business is carried on under the old name, and the retiring partners are to submit to their successor all new negatives they may severally at their leisure make, he having the option of purchasing any of them or not, as he may choose. I was very glad to see the new slides show undoubted improvements upon those first published ; and the colour of the transparencies, which even before were unrivalled, although of a slightly greenish hue, are now of a rich, warm tone, equalling in this respect the silver prints of Bedford and the best English photographers. I was particularly pleased with some moonlight effects. One, showing a view of the river Seine, with the palace of the Institute of France, the dome of which mounts up with its fine lines into the sky, where the moon appears in all her silvery beauty, the reflections in the water being charmingly rendered. This stereoscopic view is really fine. I recollect seeing M. Meissonier, a distinguished French painter, and a member of the Institute, in raptures at its beauties and pictorial truthfulness. Another slide represents the sea glistening with the pale beams of the moon, which appears floating away in the sky at an almost immeasurable distance, while fine masses of cloud lay between the earth and the nightly orb. Towards the horizon are two square-rigged vessels, and the wind-crested waves of the sea dash upon the pier, partly exposed and partly hid by the foaming tide. This picture calls to my mind Macaire’s instantaneous photograph of the sea, published some years ago by Le Gray, and which so astonished the photographic world, only, in addition to its monographic beauties, we have now the charms of stereoscopic relief. Macaire’s view was, I believe, taken from the neighbourhood of Havre, and Ferrier’s from near Etretat. The processes by which the negatives and the positives of the slides by MM. Ferrier and Co. are made are still secret ones, as may be imagined when I add that there are nearly twenty persons employed in the house, and no one but the person whose duty it is to scrupulously clean it dare enter into the operating-room, on pain of instant dismissal. My readers must not suppose that the magnificent results I saw, or, indeed, success in any calling in life, are secured without labour, or the utmost care and skill. In this case, the principal, in order to avoid dust and vibration, is occupied from four o’clock in the morning preparing and albumenising the glasses before the arrival of the employes , and he sensitises his plates from six to eight o’clock in the evening, after their departure. 1 can, therefore, hazard an opinion as to how these slides are made, and though I have had some experience with instantaneous views, my dictum must be valued only for what it maybe worth.
I will suppose that we use wet collodion (ether at 62°, 45 parts ; alcohol at 40°, 55 parts ; equivalents of iodide and bromide, 1 \ parts ; cotton, 1| parts, that manufactured by M. Mann, of St. Petersburg, answering very well) ; a negative is taken in a binocular camera, very rapidly, of a marine view, with clouds, shipping, sea, and the reflection of the sun upon the rolling waves. There is no necessity, as will appear later on, for the sun itself to appear on the field of the picture. Upon the ground-glass a good deal of reflected light may thus be got rid off, and success more easily attained. The iron development (iron ten parts, acetic acid, crystallised, five parts, water 100 parts) should not be pushed, which would render the cliches hard, but which should on the contrary be extremely soft and slightly feeble. The clicM may then be copied upon a bromised collodion tannin, and honey plate in the binocular camera, as described by Mr. Coleman Sellers, the admirable Philadelphia correspondent of The British Journal or Photography, in one of his early letters. I here profit by the occasion when his name is on the tapis to tender to him my best thanks, having practically profited by his remarks. The more the two lenses in the binocular camera are separated in taking the negative, the stereoscopic relief will naturally be more strongly “pronounced.”
I believe the axes of the lens used for the instantaneous views of M. Ferrier are about six inches apart, as in the camera which I examined, and to which were attached two stereoscopic lenses made by M. Darlot, of Paris, successor to M. Jamin, an agent for whom resides in the good town of Liverpool. These lenses had been used for instantaneous views, and were much liked. They cover, without stops, a stereoscopic picture, and thus allow a great body of light to pass on to the ground-glass, which is about 10 X 5 inches. This wide separation of the lens would necessitate the centre part of the negative to be cut out with a diamond, and which could easily be done without danger of injury to the cliche. The development of the positive should be made with pyrogallic acid one-fourth part, citric acid onefourth part, water 100 parts, with nitrate of silver freely added as the development proceeds. The fixing : — Hyposulphite of soda twenty parts, chloride of gold one-tenth part, water 100 parts. The colour of the positive with this formula is very rich and warm, and well adapted for transparencies on glass. Behind the positive should be placed the usual ground-glass, having first received a coating of a coloured wax dissolved in ether. If it be found that one coating is not opaque enough, one or more coatings will produce the necessary sombreness. A cold or warm neutral tint would allow of change of effects, such as in winter or summer. Here is the way in which the moon may be represented : — Before pouring on the coloured wax upon the ground-glass, which is poured on like collodion, a small wafer, round like the full moon, or cut in shape corresponding with her appearance at the quarters, should be temporarily attached to the ground-glass in such a position in the sky as may be judged fit, but always in the line of the reflected lights of the picture. This will, of course, protect the ground-glass of coloured wax, and it only requires the removal of the wafer with the point of a compass to secure a sharp transparent and white image the size of the wafer. The clouds of the positive will thus show in front of the moon, which may be slightly obscured, if desired, by the wafer being applied after the first coating is given. The position of the second wafer may be found by measurement with the compass ; the separation should be a line wider apart than that of the two most distant objects in the positive. Should the wax be dissolved in benzoin it may be applied on the collodion like an ordinary varnish, and the ground-glass may be dispensed with and replaced by a plain glass mount. The sky between the clouds may be pricked through with a needle point, which, if judiciously done, will give the effect of stars. The two glasses are then secured together with the margin of black paper, and the slide may be labelled “ moonlight view.” It is evident that a landscape with or without a running stream of water may be secured in like manner ; or the moon may be represented as shining between the leaves of a tree.
M. Ferrier, fils, they say, makes his campaign this season in Switzerland, to which country he is gone with 800 lbs. weight of dry Taupenot plates of two sizes, namely, stereoscopic and 14 by 11 inches ; while M. Ferrier, pere, goes to gather fresh laurels from the seaside where he will renew his experiments with Taupenot plates exposed instantaneously, similarly to the other season when instantaneous sea views were taken at Nice ; for you must know that M. Ferrier believes that the Taupenot is the veritable king of photographic processes.
The manner of exposing the objectives for instantaneous effects has long been, and is still a question about which much can be said. When I saw M. Ferrier taking instantaneous views on the Boulevards of Paris he had a slide arranged inside his camera in a way similar to that proposed by Mr. Leake some years ago. The shutter, with two holes corresponding to the lens, passed just behind the lens, sliding horizontally. M. Ferrier preferred to make his movement with his hand, timing the speed as light and circumstances dictated. M. Ferrier, fils, had a weight hanging down outside the camera attached to the sliding shutter, which moved rapidly in its grooves on a trigger being touched. The defect of this exposure, in my humble opinion, was that the darkest parts of a picture, viz., the foreground, received the same length of exposure as the lightest part, viz., the sky; and also the sliding opening form; d a series of ever-changing stops, and which necessarily changed the optical image on the sensitive surface of the plate, as could be seen on enlarging a small view some twenty or twenty-five times. It was here that the views of Mr. Wilson, and more particularly, as to sharpness and optical image, those of Mr. England’s, were superior to those of MM. Ferrier— Mr! Wilson’s exposure being made by an upward motion from the outside of the lens, and Mr. England’s by a downward motion inside the lens and close to the negative. M. Ferrier has for this season, I am told, altered his arrangement, inasmuch as his shutter is now attached to the plate slide, but still moves horizontally; which for the cloud effects, with all due deference to his judgment, I think is still wrong. However, I look forward with much eagerness for the (I have no doubt) splendid results he will show us. W. Harrison.”]

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