XIV. A FRUIT PIECE.

INTRODUCTORY REMARKS

The little work now presented to the Public is the first attempt to
publish a series of plates or pictures wholly executed by the new art of
Photogenic Drawing, without any aid whatever from the artist's pencil.

The term "Photography" is now so well known, that an explanation of it is
perhaps superfluous; yet, as some persons may still be unacquainted with
the art, even by name, its discovery being still of very recent date, a
few words may be looked for of general explanation.

It may suffice, then, to say, that the plates of this work have been
obtained by the mere action of Light upon sensitive paper. They have been
formed or depicted by optical and chemical means alone, and without the
aid of any one acquainted with the art of drawing. It is needless,
therefore, to say that they differ in all respects, and as widely us
possible, in their origin, from plates of the ordinary kind, which owe
their existence to the united skill of the Artist and the Engraver.

They are impressed by Nature's hand; and what they want as yet of delicacy
and finish of execution arises chiefly from our want of sufficient
knowledge of her laws. When we have learnt more, by experience,
respecting the formation of such pictures, they will doubtless be brought
much nearer to perfection; and though we may not be able to conjecture
with any certainty what rank they may hereafter attain to as pictorial
productions, they will surely find their own sphere of utility, both for
completeness of detail and correctness of perspective.

The Author of the present work having been so fortunate as to discover,
about ten years ago, the principles and practice of Photogenic Drawing, is
desirous that the first specimen of an Art, likely in all probability to
be much employed in future, should be published in the country where it
was first discovered. And he makes no doubt that his countrymen will deem
such an intention sufficiently laudable to induce them to excuse the
imperfections necessarily incident to a first attempt to exhibit an Art of
so great singularity, which employs processes entirely new, and having no
analogy to any thing in use before. That such imperfections will occur in
a first essay, must indeed be expected. At present the Art can hardly be
said to have advanced beyond its infancy--at any rate, it is yet in a very
early stage--and its practice is often impeded by doubts and diff