But the God of Song was also the God of Light, and a moment's reflection reveals the true significance of this seemingly barbarous story. Apollo was pleased with his young rival, fixed him in position against an iron rest, (the tree of the fable,) and took a photograph, a sun-picture, of him. This thin film or skin of light and shade was absurdly interpreted as being the cutis, or untanned leather integument of the young shepherd. The human discovery of the art of photography enables us to rectify the error and restore that important article of clothing to the youth, as well as to vindicate the character of Apollo. There is one spot less upon the sun since the theft from heaven of Prometheus Daguerre and his fellow adventurers has enabled us to understand the ancient legend.

We are now flaying our friends and submitting to be flayed ourselves, every few years or months or days, by the aid of the trenchant sunbeam which performed the process for Marsyas. All the world has to submit to it, -- kings and queens with the rest. The monuments of Art and the face of Nature herself are treated in the same way. We lift an impalpable scale from the surface of the Pyramids. We slip off from the dome of St. Peter's that other imponderable dome which fitted it so closely that it betrays every scratch on the original. We skim off a thin, dry cuticle from the rapids of Niagara, and lay it on our unmoistened paper without breaking a bubble or losing a speck of foam. We steal a landscape from its lawful owners, and defy the charge of dishonesty. We skin the flints by the wayside, and nobody accuses us of meanness.

These miracles are being worked all around us so easily and so cheaply that most people have ceased to think of them as marvels. There is a photographer established in every considerable village, -- nay, one may not unfrequently see a photographic ambulance standing at the wayside upon some vacant lot where it can squat unchallenged in the midst of burdock and plantain and apple-Peru, or making a long halt in the middle of a common by special permission of the “Selectmen."

We must not forget the inestimable preciousness of the new Promethean gifts because they have become familiar. Think first of the privilege we all possess now of preserving the lineaments and looks of those dear to us.

“Blest be the art which can immortalize,"

said Cowper. But remember how few painted portraits really give their subjects. Recollect those wandering Thugs of Art whose murderous doings with the brush used frequently to involve whole families; who passed from one country tavern to another, eating and painting their way, -- feeding a week upon the landlord, another week upon the landlady, and two or three days apiece upon the children; as the walls of those hospitable edifices too frequently testify even to the present day. Then see what faithful memorials of those whom we love and would remember are put into our hands by the new art, with the most trifling expenditure of time and money.

This new art is old enough already to have given us the portraits of infants who are now growing into adolescence. By-and-by it will show every aspect of life in the same individual, from the earliest week to the last year of senility. We are beginning to see what it will reveal. Children grow into beauty and out of it. The first line in the forehead, the first streak in the hair are chronicled without malice, but without extenuation. The footprints of thought, of passion, of purpose are all treasured in these fossilized shadows. Family-traits show themselves in early infancy, die out, and reappear. Flitting moods which have escaped one pencil of sunbeams are caught by another. Each new picture gives us a new aspect of our friend; we find he had not one face, but many.

It is hardly too much to say, that those whom we love no longer leave us in dying, as they did of old. They remain with us just as they appeared in life; they look down upon us from our walls; they lie upon our tables; they rest upon our bosoms; nay, if we will, we may wear their portraits, like signet-rings, upon our fingers. Our own eyes lose the images pictured on them. Parents sometimes forget the faces of their own children in a separation of a year or two. But the unfading artificial retina which has looked upon them retains their impress, and a fresh sunbeam lays this on the living nerve as if it were radiated from the breathing shape. How these shadows last, and how their originals fade away!

What is true of the faces of our friends is still more true of the places we have seen and loved. No picture produces an impression on the imagination to compare with a photographic transcript of the home of our childhood, or any scene with which we have been long familiar. The very point which the artist omits, in his effort to produce general effect, may be exactly the one that individualizes the place most strongly to our memory. There, for instance, is a photographic view of our own birthplace, and with it of a part of our good old neighbor's dwelling. An artist would hardly have noticed a slender, dry, leafless stalk which traces a faint line, as you may see, along the front of our neighbor's house next the corner. That would be nothing to him, -- but to us it marks the stem of the honeysuckle-vine, which we remember, with its pink and white heavy-scented blossoms, as long as we remember the stars in heaven.

To this charm of fidelity in the minutest details the stereoscope adds its astonishing illusion of solidity, and thus completes the effect which so entrances the imagination. Perhaps there is also some half-magnetic effect in the fixing of the eyes on the twin pictures, -- something like Mr. Braid's hypnotism, of which many of our readers have doubtless heard. At least the shutting out of surrounding objects, and the concentration of the whole attention, which is a consequence of this, produce a dream-like exaltation of the faculties, a kind of clairvoyance, in which we seem to leave the body behind us and sail away into one strange scene after another, like disembodied spirits.

“Ah, yes," some unimaginative reader may say; “but there is no color and no motion in these pictures you think so life-like; and at best they are but petty miniatures of the objects we see in Nature."

But color is, after all, a very secondary quality as compared with form. We like a good crayon portrait hetter for the most part in black and white than in tints of pink and blue and brown. Mr. Gibson has never succeeded in making the world like his flesh-colored statues. The color of a landscape varies perpetually, with the season, with the hour of the day, with the weather, and as seen by sunlight or moonlight; yet our home stirs us with its old associations, seen in any and every light.

As to motion, though of course it is not present in stereoscopic pictures, except in those toy-contrivances which have been lately introduced, yet it is wonderful to see how nearly the effect of motion is produced by the slight difference of light on the water or on the leaves of trees as seen by the two eyes in the double-picture.

And lastly with respect to size, the illusion is on the part of those who suppose that the eye, unaided, ever sees anything but miniatures of objects. Here is a new experiment to convince those who have not reflected on the subject that the stereoscope shows us ohjects of their natural size.

We had a stereoscopic view taken by Mr. Soule out of our parlor-window, overlooking the town of Cambridge, with the river and the bridge in the foreground. Now, placing this view in the stereoscope, and looking with the left eye at the right stereographic picture, while the right eye looked at the natural landscape, through the window where the view was taken, it was not difficult so to adjust the photographic and real views that one overlapped the other, and then it was shown that the two almost exactly coincided in all their dimensions.

Another point in which the stereograph differs from every other delineation is in the character of its evidence. A simple photographic picture may be tampered with. A lady's portrait has been known to come out of the finishing-artist's room ten years younger than when it left the camera. But try to mend a stereograph and you will soon find the difference. Your marks and patches float above the picture and never identify themselves with it. We had occasion to put a little cross on the pavement of a double photograph of Canterbury Cathedral, -- copying another stereoscopic picture where it was thus marked. By careful management the two crosses were made perfectly to coincide in the field of vision, but the image seemed suspended above the pavement, and did not absolutely designate any one stone, as it would have done, if it had been a part of the original picture. The impossibility of the stereograph's perjuring itself is a curious illustration of the law of evidence. “At the mouth of two witnesses, or of three, shall he that is worthy of death be put to death; but at the mouth of one he shall not be put to death." No woman may be declared youthful on the strength of a single photograph; but if the stereoscopic twins say she is young, let her be so acknowledged in the high court of chancery of the God of Love.

*

Some two or three years since, we called the attention of the readers of this magazine to the subject of the stereoscope and the stereograph. Some of our expressions may have seemed extravagant, as if heated by the interest which a curious novelty might not unnaturally excite. We have not lost any of the enthusiasm and delight which that article must have betrayed. After looking over perhaps a hundred thousand stereographs and making a collection of about a thousand, we should feel the same excitement on receiving a new lot to look over and select from as in those early days of our experience. To make sure that this early interest has not cooled, let us put on record one or two convictions of the present moment.

First, as to the wonderful nature of the invention. If a strange planet should happen to come within hail, and one of its philosophers were to ask us, as it passed, to hand him the most remarkable material product of human skill, we should offer him, without a moment's hesitation, a stereoscope containing an instantaneous double-view of some great thoroughfare, -- one of Mr. Anthony's views of Broadway, (No. 203,) for instance.

Secondly, of all artificial contrivances for the gratification of human taste, we seriously question whether any offers so much, on the whole, to the enjoyment of the civilized races as the self-picturing of Art and Nature, -- with three exceptions: namely, dress, the most universal, architecture, the most imposing, and music, the most exciting, of factitious sources of pleasure.

No matter whether this he an extravagance or an over-statement; none can dispute that we have a new and wonderful source of pleasure in the sun-picture, and especially in the solid sun-sculpture of the stereograph. Yet there is a strange indifference to it, even up to the present moment, among many persons of cultivation and taste. They do not seem to have waked up to the significance of the miracle which the Lord of Light is working for them. The cream of the visible creation has been skimmed off; and the sights which men risk their lives and spend their money and endure sea-sickness to behold, -- the views of Nature and Art which make exiles of entire families for the sake of a look at them, and render “bronchitis” and dyspepsia, followed by leave of absence, endurable dispensations to so many worthy shepherds, -- these sights, gathered from Alps, temples, palaces, pyramids, are offered you for a trifle, to carry home with you, that you may look at them at your leisure, by your fireside, with perpetual fair weather, when you are in the mood, without catching cold, without following a valet-de-place, in any order of succession, -- from a glacier to Vesuvius, from Niagara to Memphis, -- as long as you like, and breaking off as suddenly as you like; -- and you, native of this incomparably dull planet, have hardly troubled yourself to look at this divine gift, which, if an angel had brought it from some sphere nearer to the central throne, would have been thought worthy of the celestial messenger to whom it was intrusted!

It seemed to us that it might possibly awaken an interest in some of our readers, if we should carry them with us through a brief stereographic trip, -- describing, not from places, but from the photographic pictures of them which we have in our own collection. Again, those who have collections may like to compare their own opinions of particular pictures mentioned with those here expressed, and those who are buying stereographs may he glad of some guidance in choosing.

But the reader must remember that this trip gives him only a glimpse of a few scenes selected out of our gallery of a thousand. To visit them all, as tourists visit the realities, and report what we saw, with the usual explanations and historical illustrations, would make a formidable book of travels.

*

Before we set out, we must know something of the sights of our own country. At least we must see Niagara. The great fall shows infinitely best on glass. Thomson's “Point View, 28," would be a perfect picture of the Falls in summer, if a lady in the foreground had not moved her shawl while the pictures were taking, or in the interval between taking the two. His winter view, “Terrapin Tower, 37," is perfection itself. Both he and Evans have taken fine views of the rapids, instantaneous, catching the spray as it leaped and the clouds overhead. Of Blondin on his rope there are numerous views; standing on one foot, on his head, carrying a man on his back, and one frightful picture, where he hangs by one leg, head downward, over the abyss. The best we have seen is Evans's No. 5, a front view, where every muscle stands out in perfect relief and the symmetry of the most Unimpressible of mortals is finely shown. It literally makes the head swim to fix the eyes on some of these pictures. It is a relief to get away from such fearful sights and look up at the Old Man of the Mountain. There stands the face, without any humanizing help from the hand of an artist. Mr. Bierstadt has given it to us very well. Rather an imbecile old gentleman, one would say, with his mouth open; a face such as one may see hanging about railway-stations, and, what is curious, a New-England style of countenance.

Let us flit again, and just take a look at the level sheets of water and broken falls of Trenton, -- at the oblong, almost squared arch of the Natural Bridge, -- at the ruins of the Pemberton Mills, still smoking, -- and so come to Mr. Barnum's “Historical Series." Clark's Island, with the great rock by which the Pilgrims “rested, according to the commandment," on the first Sunday, or Sabbath, as they loved to call it, which they passed in the harbor of Plymouth, is the most interesting of them all to us. But here are many scenes of historical interest connected with the great names and events of our past. The Washington Elm, at Cambridge, (through the branches of which we saw the first sunset we ever looked upon, from this planet, at least,) is here in all its magnificent drapery of hanging foliage. Mr. Soule has given another beautiful view of it, when stripped of its leaves, equally remarkable for the delicacy of its pendent, hair-like spray.

We should keep the reader half an hour looking through this series, if we did not tear ourselves abruptly away from it. We are bound for Europe, and are to leave viâ New York immediately.

Here we are in the main street of the great city. This is Mr. Anthony's miraculous instantaneous view in Broadway, (No. 203,) before referred to. It is the Oriental story of the petrified city made real to our eyes. The character of it is, perhaps, best shown by the use we make of it in our lectures, to illustrate the physiology of walking. Every foot is caught in its movement with such suddenness that it shows as clearly as if quite still. We are surprised to see, in one figure, how long the stride is, -- in another, how much the knee is bent, -- in a third, how curiously the heel strikes the ground before the rest of the foot, -- in all, how singularly the body is accommodated to the action of walking. The facts which the brothers Weber, laborious German experimenters and observers, had carefully worked out on the bony frame, are illustrated by the various individuals comprising this moving throng. But what a wonder it is, this snatch at the central life of a mighty city as it rushed by in all its multitudinous complexity of movement!

Hundreds of objects in this picture could be identified in a court of law by their owners. There stands Car No. 33 of the Astor House and Twenty-Seventh Street Fourth Avenue line. The old woman would miss an apple from that pile which you see glistening on her stand. The young man whose back is to us could swear to the pattern of his shawl. The gentleman between two others will no doubt remember that he had a headache the next morning, after this walk he is taking. Notice the caution with which the man driving the dapple-gray horse in a cart loaded with barrels holds his reins, -- wide apart, one in each hand. See the shop-boys with their bundles, the young fellow with a lighted cigar in his hand, as you see by the way he keeps it off from his body, the gamin stooping to pick up something in the midst of the moving omnibuses, the stout philosophical carman sitting on his cart tail, Newman Noggs by the lamp-post at the corner. Nay, look into Car No. 33 and you may see the passengers; -- is that a young woman's face turned toward you looking out of the window? See how the faithful sun-print advertises the rival establishment of “Meade Brothers, Ambrotypes and Photographs."

What a fearfully suggestive picture! It is a leaf torn from the book of God's recording angel. What if the sky is one great concave mirror, which reflects the picture of all our doings, and photographs every act on which it looks upon dead and living surfaces, so that to celestial eyes the stones on which we tread are written with our deeds, and the leaves of the forest are but undeveloped negatives where our summers stand self-recorded for transfer into the imperishable record? And what a metaphysical puzzle have we here in this simple-looking paradox! Is motion but a succession of rests? All is still in this picture of universal movement. Take ten thousand instantaneous photographs of the great thoroughfare in a day; every one of them will he as still as the tableau in the “Enchanted Beauty." Yet the hurried day's life of Broadway will have been made up of just such stillnesses. Motion is as rigid as marble, if you only take a wink's worth of it at a time.

*

We are all ready to embark now. Here is the harbor; and there lies the Great Eastern at anchor, -- the biggest island that ever got adrift. Stay one moment, -- they will ask us about secession and the revolted States, -- it may be as well to take a look at Charleston, for an instant, before we go.

These three stereographs were sent us by a lady now residing in Charleston. The Battery, the famous promenade of the Charlestonians, since armed with twenty-four-pounders facing Fort Sumter; the interior of Fort Moultrie, with the guns spiked by Major Anderson; and a more extensive view of the same interior, with the flag of the seven stars, (corresponding to the seven deadly sins,) -- the free end of it tied to a gun-carriage, as if to prevent the winds of the angry heaven from rending it to tatters. In the distance, to the right, Fort Sumter, looking remote and inaccessible, -- the terrible rattle which our foolish little spoiled sister Caroline has insisted on getting into her rash hand. How ghostly, yet how real, it looms up out of the dim atmosphere, -- the guns looking over the wall and out through the embrasures, -- meant for a foreign foe, -- this very day (April 13th) turned in self-defence against the children of those who once fought for liberty at Fort Moultrie! It is a sad thought that there are truths which can be got out of life only by the destructive analysis of war. Statesmen deal in proximate principles, -- unstable compounds; but war reduces facts to their simple elements in its red-hot crucible, with its black flux of carbon and sulphur and nitre. Let us turn our back on this miserable, even though inevitable, fraternal strife, and, closing our eyes for an instant, open them in London.

Here we are at the foot of Charing Cross. You remember, of course, how this fine equestrian statue of Charles I. was condemned to be sold and hroken up by the Parliament, but was buried and saved by the brazier who purchased it, and so reappeared after the Restoration. To the left, the familiar words “Morley's Hotel” designate an edifice about half windows, where the plebeian traveller may sit and contemplate Northumberland House opposite, and the straight-tailed lion of the Percys surmounting the lofty battlement which crowns its broad façade. We could describe and criticize the statue as well as if we stood under it, but other travellers have done that. Where are all the people that ought to be seen here? Hardly more than three or four figures are to be made out; the rest were moving, and left no images in this slow, old-fashioned picture, -- how unlike the miraculous “instantaneous” Broadway of Mr. Anthony we were looking at a little while ago! But there, on one side, an omnibus has stopped long enough to be caught by the sunbeams. There is a mark on it. Try it with a magnifier.

Charing
+
Strand
633.

Here are the towers of Westminster Abbey. A dead failure, as we well remember them, -- miserable modern excrescences, which shame the noble edifice. We will hasten on, and perhaps by-and-by come back and enter the cathedral.

How natural Temple Bar looks, with the loaded coach and the cab going through the central arch, and the blur of the hurrying throng darkening the small lateral ones! A fine old structure, -- always reminds a Bostonian of the old arch over which the mysterious Boston Library was said still to linger out its existence late into the present century. But where are the spikes on which the rebels' heads used to grin until their jaws fell off? They must have been ranged along that ledge which forms the chord of the arch surmounting the triple-gated structure. To the left a woman is spreading an awning before a shop; -- a man would do it for her here. Ghost of a boy with bundle, -- seen with right eye only. Other ghosts of passers or loiterers, -- one of a pretty woman, as we fancy at least, by the way she turns her face to us. To the right, fragments of signs, as follow:

22
Pat

Co
Br
PR

What can this be but 229, Patent combs and Brushes, PROUT? At any rate, we were looking after Prout's good old establishment, (229, Strand,) which we remembered was close to Temple Bar, when we discovered these fragments, the rest being cut off by the limits of the picture.

London Bridge! Less imposing than Waterloo Bridge, but a massive pile of masonry, which looks as if its rounded piers would defy the Thames as long as those of the Bridge of Sant' Angelo have stemmed the Tiber. Figures indistinct or invisible, as usual, in the foreground, but farther on a mingled procession of coaches, cabs, carts, and people. See the groups in the recesses over the piers. The parapet is breast-high; -- a woman can climb over it, and drop or leap into the dark stream lying in deep shadow under the arches. Women take this leap often. The angels hear them like the splash of drops of blood out of the heart of our humanity. In the distance, wharves, storehouses, stately edifices, steeples, and rising proudly above them, “like a tall bully," London Monument.

Here we are, close to the Monument. Tall, square base, with reliefs, fluted columns, queer top; -- looks like an inverted wineglass with a shaving-brush standing up on it: representative of flame, probably. Below this the square cage in which people who have climbed the stairs are standing; seems to be ten or twelve feet high, and is barred or wired over. Women used to jump off from the Monument as well as from London Bridge, before they made the cage safe in this way.

“Holloa!" said a man standing in the square one day, to his companion, -- “there's the flag coming down from the Monument!"

“It's no flag," said the other, “it's a woman!" Sure enough, and so it was.

Nobody can mistake the four pepper-boxes, with the four weathercocks on them, surmounting the corners of a great square castle, a little way from the river's edge.

That is the Tower of London. We see it behind the masts of sailing-vessels and the chimneys of steamers, gray and misty in the distance. Let us come nearer to it. Four square towers, crowned by four Oriental-looking domes, not unlike the lower half of an inverted balloon: these towers at the angles of a square building with buttressed and battlemented walls, with two ranges of round arched windows on the side towards us. But connected with this building are other towers, round, square, octagon, walls with embrasures, moats, loop-holes, turrets, parapets, -- looking as if the beef-eaters really meant to hold out, if a new army of Boulogne should cross over some fine morning. We can't stop to go in and see the lions this morning, for we have come in sight of a great dome, and we cannot take our eyes away from it.

That is St. Paul's, the Boston State House of London. There is a resemblance in effect, but there is a difference in dimensions, -- to the disadvantage of the native edifice, as the reader may see in the plate prefixed to Dr. Bigelow's “Technology." The dome itself looks light and airy compared to St. Peter's or the Duomo of Florence, -- not only absolutely, but comparatively. The colonnade on which it rests divides the honors with it. It does not brood over the city, as those two others over their subject towns. Michel Angelo's forehead repeats itself in the dome of St. Peter's. Sir Christopher had doubtless a less ample frontal development; indeed, the towers he added to Westminster Abbey would almost lead us to doubt if he had not a vacancy somewhere in his brain. But the dome of the London “State-House” is very graceful, -- so light that it looks as if its lineage had been crossed by a spire. Wait until we have gilded the dome of our Boston St. Paul's before drawing any comparisons.

We have seen the outside of London. What do we care for the Crescent, and the Horseguards, and Nelson's Monument, and the statue of Achilles, and the new Houses of Parliament? The Abbey, the Tower, the Bridge, Temple Bar, the Monument, St. Paul's: these make up the great features of the London we dream about. Let us go into the Abbey for a few moments. The “dim religious light” is pretty good, after all. We can read every letter on that mural tablet to the memory of “the most illustrious and most benevolent John Paul Howard, Earl of Stafford," “a Lover of his Country, A Relation to Relations," (what a eulogy and satire in that expression!) and in many ways virtuous and honorable, as “The Countess Dowager, in Testimony of her great Affection and Respect to her Lord's Memory," has commemorated on his monument. We can see all the folds of the Duchess of Suffolk's dress, and the meshes of the net that confines her hair, as she lies in marble effigy on her sculptured sarcophagus. It looks old to our eyes, -- for she was the mother of Lady Jane Grey, and died three hundred years ago, -- but see those two little stone heads lying on their stone pillow, just beyond the marble Duchess. They are children of Edward III., -- the Black Prince's baby-brothers. They died five hundred years ago, -- but what are centuries in Westminster Abbey? Under this pillared canopy, her head raised on two stone cushions, her fair, still features bordered with the spreading cap we know so well in her portraits, lies Mary of Scotland.

These fresh monuments, protected from the wear of the elements, seem to make twenty generations our contemporaries. Look at this husband warding off the dart which the grim, draped skeleton is aiming at the breast of his fainting wife. Most famous, perhaps, of all the statues in the Abbey is this of Joseph Gascoigne Nightingale and his Lady, by Roubilliac. You need not cross the ocean to see it. It is here, literally to every dimple in the hack of the falling hand, and every crinkle of the vermiculated stone-work. What a curious pleasure it is to puzzle out the inscriptions on the monuments in the background! -- for the beauty of your photograph is, that you may work out minute details with the microscope just as you can with the telescope in a distant landscape in Nature. There is a lady, for instance, leaning upon an urn, -- suggestive, a little, of Morgiana and the forty thieves. Above is a medallion of one wearing a full periwig. Now for a half-inch lens to make out the specks that seem to be letters. “Erected to the Memory of William Pulteney, Earl of Bath, by his Brother” -- That will do, -- the inscription operates as a cold bath to enthusiasm.

But here is our own personal namesake, the once famous Rear Admiral of the White, whose biography we can find nowhere except in the “Gentleman's Magazine," where he divides the glory of the capture of Quebec with General Wolfe. A handsome young man with hyacinthine locks, his arms bare and one hand resting on a cannon. We remember thinking our namesake's statue one of the most graceful in the Abbey, and have always fallen back on the memory of that and of Dryden's Achates of the “Annus Mirabilis," as trophies of the family.

Enough of these marbles; there is no end to them; the walls and floor of the great, many-arched, thousand-pillared, sky-lifted cavern are crusted all over with them, like stalactites and stalagmites. The vast temple is alive with the images of the dead. Kings and queens, nobles, statesmen, soldiers, admirals, the great men whose deeds we all know, the great writers whose words are in all our memories, the brave and the beautiful whose fame has shrunk into their epitaphs, are all around us. What is the cry for alms that meets us at the door of the church to the mute petition of these marble beggars, who ask to warm their cold memories for a moment in our living hearts? Look up at the mighty arches overhead, borne up on tall clustered columns, -- as if that avenue of Royal Palms we remember in the West India Islands (photograph) bad been spirited over seas and turned into stone. Make your obeisance to the august shape of Sir Isaac Newton, reclining like a weary swain in the niche at the side of the gorgeous screen. Pass through Henry VII.'s Chapel, a temple cut like a cameo. Look at the shining oaken stalls of the knights. See the banners overhead. There is no such speaking record of the lapse of time as these banners, -- there is one of them beginning to drop to pieces; the long day of a century has decay for its dial-shadow.

To Part 2