83
not yet been enabled to examine an actual specimen.”
Engravings of daguerreotypes had previously been
reproduced in periodicals like the Illustrated London
News, but the reproduction of 7,000 photographs was a
major and original achievement.
The principal writer on photography for the Art
Journal during the 1850s was Robert Hunt, author of
A Manual of Photography and founding member of the
Photographic club, sometimes referred to as the Calo-
type Club. Hunt’s contributions included long articles on
the fading of photographs and the useful application of
photography to the fi ne arts. One of the fi rst descriptions
of the making a collodion positive was published in the
Art Journal in July 1851 in a communication from Fal-
lon Horne to Robert Hunt. Other writers on photography
included Ronald Campbell and Francis Frith.
In the late 1850s, the aesthetic agenda of the Art
Journal became increasingly at odds with the com-
mercial status of photography. Subsequently, although
the Art Journal used photography to reproduce il-
lustrations from the late 1880s, it rarely extended its
coverage beyond a review of the annual photographic
exhibition. The Art Journal fi nally ceased publication
in February 1912.
John Plunkett
See Also: Ruskin, John; Shaw, George; Eastlake,
Sir Charles Lock; Athenaeum; Notes and Queries;
Calotype and Talbotype; Talbot, William Henry Fox;
Frith, Francis; and Hunt, Robert.
Further Reading
“Art Union Monthly Journal of the Fine Arts,” The Waterloo
Directory of English Newspaper and Periodicals, ed. John
North vol 1, Waterloo: North Waterloo Academic Press,
1997: 314–317.
Collins, Michael, “English Art Magazines Before 1901,” Conois-
seur 191 (March 1976) 198–205.
Hall, Samuel Carter, Retrospect of a long life: From 1815 to 1883,
London: Richard Bentley and Son, 1883.
Roberts, Helene “British Art Periodicals of the Eighteenth and
Nineteenth Century,” Victorian Periodicals Newsletter 9 (July
1970) 2–56.
Spatt, H.S. “The aesthetics of editorship: creating taste in the
Victorian art world,” Innovators and preachers: the role of
the editor in Victorian England, ed. Joel Wiener, Greenwood:
Westport, 1985.
Seiberling, Grace and Carolyn Bloore, Amateurs, photography
and the mid-Victorian imagination, Chicago: Chicago UP &
International Museum of Photography, 1986.
ARTARIA, FERDINANDO (1781-1843)
Italian photographer
Among the fi rst commercially available photographic
views of Italy were aquatints done from daguerreotypes
commissioned by the Milanese publisher Ferdinando
Artaria. These plates, which were executed by Louis
Cherbuin and Johann Jakob Falkeisen, were issued
between 1840 and 1847 under the title Vues d’Italie
d’après le daguerreotype.^ The first fifteen plates,
which were registered in 1840 and 1841, are views of
Milan. Of the 32 plates published in 1842, four depict
Pisa and twelve are views of Florence, including two
panoramas, scenes showing the Arno and its bridges
and views of the principal piazzas and churches. Later
plates, issued between 1843 and 1847, range from
Como, Genoa, Venice, Padua and Verona, in the north
of Italy, to Rome and Naples, in the south. Artaria’s
Vues d’Italie was contemporaneous with and similar in
conception to Noël-Marie-Paymal Lerebours’s Excur-
sions daguerriennes, published in Paris between 1841
and 1843, and to Alexander John Ellis’s unrealized Italy
Daguerreotyped.
Graham SmithARTIFICIAL LIGHTING
During photography’s early days artifi cial lighting was
of limited use in the studio as emulsions speeds were
slow: daylight was the only practical means of lighting a
studio. There were experiments with fl ash photography
as early as 14 June1851 when William Fox Talbot photo-
graphed a moving paper, claimed to be The Times, using
an electric spark, at the Royal Institution. He took out a
British patent (number 13661 of 1851) for this method.
However, studio fl ash photography was not a truly viable
and widespread until the fi rst commercial fl ashbulb was
made from 1929 and electronic fl ash became more fully
developed in the later 1930s.
Artifi cial lighting using a high-powered illuminant
was made use of as early as 1839 when Captain Levett
Ibbetson used limelight to shorten exposure times when
making daguerreotypes of microscopic objects. Similar
light sources would be seen in the photographic studio
later in the century. It was magnesium that was mainly
used for lighting photographic subjects, usually away
from the photographic studio, during the nineteenth
century.
Magnesium was fi rst discovered by Humphrey Davy
in 1808 and William Crookes, the editor of the Photo-
graphic News attempted to make pictures using it in
1859, but it was not until the early 1860s that magnesium
was able to be prepared in large quantities in a ribbon
form. Alfred Brothers of Manchester produced the fi rst
portraits using magnesium lighting in February 1864 and
in 1865 Charles Piazzi Smyth took photographs inside
the Great Pyramid. Brothers took the fi rst cave photo-
graphs, including stereoscopic pairs, in January 1865 in
the Blue John Caverns in Derbyshire. With magnesium
giving a powerful and controlled light, photographic