INTRODUCTION
T
The idea that occurred to me in drawing in epitome a history of the amalgamation ofArtandScience, and ultimately induced me to attempt so hazardous a task, was to enable the public to learn the true course to be pursued in order to give fresh vigour and impulse for the revival ofFine Arts, and I have endeavoured to exemplify in a striking manner, as far as my poorabilities admit, the inestimable advantage the one confers upon the other, which renders the combination so essential in advancing and developing a better, truer, and nobler style of art—a style that I feel assured will distinguish for ever the present generation. With this view, I have gathered materials from every common report or otherwise, from personal acquaintance with some of the most distinguished artists of the day, and it is with regret that I find how immeasurably incompetent I am to do justice to a subject so worthy of being treated by greater talents and accomplishmentsthan are granted to me. In sketching the various changes Photography has undergone ere it reached the supremacy it now enjoys, owing—principally to the natural instability of events—and in the rapid survey to which the limits of the Essay constrain me, I have been compelled to point out defects “both in the Art and the Science,” without reserve, but with all due respect to the opinion of others; but while doing so, I trust that I have rendered justice also.
As a professional artist, the reader may be led to suppose I write with bias—not so. I have most cautiouslyavoided any sentiment that might be so construed, and beg that judgment may be suspended until these pages have been perused, the perusal of which, I sincerely trust, may have the desired effect—not actually resulting in the revival of Fine Arts—but as an auxiliary for paving the way for others commanding a greater range of knowledge, who may thereby be induced to embark in the cause I am humbly seeking to advocate.
Liverpool,Jany., 1866.