PCCA Home > Archive Texts > History of Photography > William Henry Fox Talbot
The Pencil of Nature (1844-46)

by William Henry Fox Talbot

Part I (cont.): PLATE III. Articles of China

About The Pencil of Nature
Part I.
Publisher's note, frontispiece, and title page.
Introductory Remarks.
Brief Historical Sketch of the Invention of the Art.
Plate I. Part of Queen's College, Oxford.
Plate II. View of the Boulevards at Paris.
Plate III. Articles of China.
Plate IV. Articles of Glass
Plate V. Bust of Patroclus.

Part II.
Plate VI. The Open Door
Plate VII. Leaf of a Plant
Plate VIII. A Scene in a Library
Plate IX. Fac-simile of an Old Printed Page
Plate X. The Haystack
Plate XI. Copy of a Lithographic Print
Plate XII. The Bridge of Orleans.
Part III.
Plate XIII. Queen's College, Oxford, Entrance Gateway
Plate XIV. The Ladder.
Plate XV. Lacock Abbey in Wiltshire.

Part IV.
Plate XVI. Cloisters of Lacock Abbey.
Plate XVII. Bust of Patroclus.
Plate XVIII. Gate of Christchurch
Part V.
Plate XIX. The Tower of Lacock Abbey
Plate XX. Lace
Plate XXI. The Martyr's Monument
Part VI.
Plate XXII. Westminster Abbey
Plate XXIII. Hagar in the Desert.
Plate XXIV. A Fruit Piece.


PLATE III. ARTICLES OF CHINA.

FROM the specimen here given it is sufficiently manifest, that the whole cabinet of a Virtuoso and collector of old China might be depicted on paper in little more time than it would take him to make a written inventory describing it in the usual way. The more strange and fantastic the forms of his old teapots, the more advantage in having their pictures given instead of their descriptions.

And should a thief afterwards purloin the treasures -- if the mute testimony of the picture were to be produced against him in court -- it would certainly be evidence of a novel kind; but what the judge and jury might say to it, is a matter which I leave to the speculation of those who possess legal acumen.

The articles represented on this plate are numerous: but, however numerous the objects -- however complicated the arrangement -- the Camera depicts them all at once. It may be said to make a picture of whatever it sees. The object glass is the eye of the instrument -- the sensitive paper may be compared to the retina. And, the eye should not have too large a pupil: that is to say, the glass should be diminished by placing a screen or diaphragm before it, having a small circular hole, through which alone the rays of light may pass. When the eye of the instrument is made to look at the objects through this contracted aperture, the resulting image is much more sharp and correct. But it takes a longer time to impress itself upon the paper, because, in proportion as the aperture is contracted, fewer rays enter the instrument from the surrounding objects, and consequently fewer fall upon each part of the paper.

Back to top

All contents © copyright 2003-05
by A. D. Coleman/PCCA
and the authors and artists, except as indicated.
All rights reserved.
info@photocriticism.com

Site design by John Alley