1249
quent expeditions in the same region, in which Robert
took part, confi rmed their reputation as scientifi c explor-
ers. In 1854, the East India Company commissioned the
three brothers to pursue a magnetic survey of India on
the death of surveyor Charles Elliot. During 1854–57,
they traveled throughout the Deccan and the Himala-
yas, and at some occasions, beyond the frontiers of the
Company’s territories. Hermann and Robert were the
fi rst Europeans to cross the Kunlun Mountains in China,
for which Hermann received the title Sakünlünski. Dur-
ing these travels, Robert took a number of ethnographi-
cal and topographical photographs. Upon their return in
Europe in 1857, the two brothers published Results of a
Scientifi c Mission to India and High Asia (4 volumes,
1860–66). Adolph pursued his research in Central Asia
and was put to death by the Amir of Kashgar on 26
August 1857. Hermann settled in Jägesburg and devoted
himself to writing. Robert was appointed professor of
geography at Giessen in 1863 and traveled widely to
America between 1867 and 1870, where he lectured and
traveled along the Pacifi c coast, publishing his research
between 1870 and 1876.
Stephanie Roy
SCHNAUSS, JULIUS KARL (1827–1895)
German photographer, photo-chemist, and
photographic writer
Julius Karl Schnauss was born in Weimar on 7 July 1827
to the court advocate Carl August Constantin Schnauss.
Being deaf since his childhood he primarily received a
private education. From 1847 to 1849 Schnauss studied
physics and chemistry at the University of Jena but experi-
mented mainly in his own laboratory. After gaining his
doctorate in chemistry, Schnauss began photographing,
opening a portrait studio in Jena in 1852. In the same
city, he founded one of the fi rst photographic schools in
Germany, the Photographisch-Chemische Institut in 1855
where he taught photo-chemistry and practical photog-
raphy and also sold photographic equipment. Schnauss
also tried to establish photography as a discipline at the
local university, but without success. In 1858 he was
co-founder of the Allgemeiner Deutscher Photographen-
Verein [General German Photographers’ Association]; in
conjunction with this initiative he became editor of the
professional journal Photographisches Archiv [Photo-
graphic Archive], together with one of his pupils, Paul
Eduard Liesegang. Schnauss closed his school and the
studio in the midst 1860s, concentrating on his career
as a writer. He published a number of popular manuals
and treatises and regularly in photographic and chemical
journals. Schnauss also made important contributions to
photo-chemistry. He died in Jena on 6 December 1895.
Stefanie Klamm
SCHNEIDER, TRUTPERT (1804–1988),
HEINRICH (1835–1900), AND WILHELM
(1839–1921)
German daguerreotypistsTrutpert Schneider was born 13 March 1804 in
Bollschweil (then Bollschweil-Kukucksbad). Like his
namesake, St. Trudpert, the seventh-century Catholic
missionary who settled in Baden, he called the scenic
and multi-lingual area around Freiburg his home. He
was trained to be a cabinet maker by his father Mat-
täus Schneider, and in 1831, married Regina Locherer
and established his workshop in her parents’ house in
Ehrenstetten. Schneider’s fi ne woodwork and elaborate
designs won him an excellent reputation and and a loyal
circle of customers including the local landed gentry as
well as wealthy residents of the city.
Early in 1847, an itinerate daguerreotypist named Jo-
seph Broglie arrived in Freiburg, having lost his plate
holders in transit. He was sent to Trutpert Schneider who
fashioned the replacement holders to Broglie’s exacting
specifi cations. Broglie, in thanks, made a daguerreotype
of the family Schneider: Trutpert, his wife Regina, and
three sons, Karl (b. 22 December, 1833), Heinrich (b.
9 October 1835), and Wilhelm (b. 10 October 1839).
Trutpert Schneider was instantly captivated by the da-
guerreotype process and assisted Broglie for a very short
time, learning the methods of polishing, fuming, expo-
sing, and developing daguerreotypes. He sketched the
dimensions of the camera, the fuming and developing
boxes, and all that was necessary to construct his own
daguerreotype apparatus. Plying his new trade among
his enthusiastic customers, Schneider began his career
as a daguerreotypist, offering not only photographs, but
boxes adorned with daguerreotypes.
Rather than setting up a studio, Schneider decided to
follow the model of an itinerate photographer. Unlike
most itinerate photographers, however, Schneider and
later his sons Heinrich and Wilhelm travelled from one
lucrative city location to another, stopping in the country
only to photograph estates and castles, usually by invita-
tion. By 1848, Trutpert and his middle son, the 13 year
old Heinrich, had embarked on perhaps their fi rst da-
guerreotyping tour. It followed a path which they would
often take, through Donaueschingen, Heiligenberg and
Karlsruhe. Although many of the daguerreotypes made
by Schneider and his sons have been dispersed or lost,
it is apparent that even in this very early stage, they
were much in demand. Trutpert himself and both his
sons Heinrich and Wilhelm spoke German, English,
Italian, and French, and could accomodate not only
tourists, but travel and work easily to the North, South,
East, or West.
These small tours continued for several years, du-
ring which Trutpert Schneider refi ned his technique