, 1869-04-25
OEE'S IDEAL FACE
Why Photographs arc Unzatisfac.
!: korys

VAN0 ASAAAA - AAkSA*-
Why Photoxrnphs aro Unzasis1ac.
torJs
From Ones Et.t
There Is very Curious experience known tn
artMts who have had much practice In portratt-
painting They viii tell ycu that neasfy every
nan ana ess 2,z n1 a slso though perhaps a
tere Of hls own faee which diners in most strik.
inu degree from hts real face 1t u not th6t eTer1
pointed With his portrait because he fancea It o6-
Siously Caters him, and because he fanc.es his
friends VIII be amused BY his having pald for tho
nnttery. On he contrary, The ideA iace mar hare
Teakuesa where the real face has strength, and
coas1eness where the real face has refinement.
training, end consequently no knowledge Of tho
fcspectl1e methods Of treatment axhlblt for por-
trails In oll over photographs naJ partly b. Traced
the caunera never IN any case give the Ideal
portrait. This they know, and many arc the
Complaints directed against the yAlgaF eHor
porstsls Imnin9. 1as n tbe case OF portrait ii
81. therc come In innune1nbfe ch1ueee. Instead
Of the blind workng OF mtc1fne We have human
ues; ind who hoNs but shat the ideal tace--
which is to. the gentleman N question hta real
nee--maY be NJ uPonf ne nas uted paosoSts
photography pendsts in gi1tnE him. It u not nis
hce- Therefore be says to himself that he VIII
abandon these mechanical appliances and trust 70
real features, hts rcal expression. The genius Of
the portrait painter VIII sclze tho t1uo points Of
appearance, and properly transfer them 10
Hsre Is pretty outlook for the portrait painter,
% whom he comes With bis Impossible request
fSr u tae pasgose Of ponshs n sa Oh TO ,s es
uEhis Of . face that are repressed By tho haEsh
process Of photogEsphJ-to translate and render
az r soo Saeas sss
portEait in ou is truth vtv1oi: bat too gentleman
pleased sssa y ne ~ aeeeps. | ssc port1ait por Il
tkcness. lie hangs It on his WALLS and Il sAstsdtd
Nheu ais friends tell him II "a remarkably good.
movable ngurs In tho frame were an lmpertlnent
stranger rho was posted there 10 annoy him With
bis perpetual smile nnl his stlG and 9losay halr.
he e u ea soea ono Wssa i
bis friends arg likely to feel uncomfortable In
hi,ieons!y atfnt,l In a lad oll-palnttnR than In
bad photoRtath. The camefa often m!strnrr>ents,
lnt she tedom buscsqocs; willie Il l. In the m.
tuse o! ha4i tostrA painter to Introduce, aInnst
hts will. c.snic element Into hia painful cGorta.
4 lnhn who Is nnxtons TO tame hta carnal prle,
thenlh hive his portrait painted by a dnzen nNh
rnfe hrtlBtA shouhI lncx these trusrstea nf hhMei
Mr IN room lJ themselves, md Visit tho cutrt-
thu ior lew minutes every forenoon. hair
thift At,d grrci for dinner would he feeble rrr-
0ncc compared Nth this daily halublIn1 vi tho
proud spirit.
whut Ii the ea',c Of this o.s,t mistake about
thelr tcsHoha! hllearntcc under which most prty.
plc latUr-a mistake which survives the lnllF ar.
Hutnent Df tho looking. RlRak. tho A.srrtlpus q,
fIiendA the tc1lita VI ths pencil Rni the camera
wv believe ta Naturalization 10 arise trnip cGt,,.
hlnaituh VI cnuses thnt nre In themselves almost
Gatnst!c Every man tt rotsetac,, i" Nh hseal sc,f.
be, Or something which he woila likc 10 nc mi
when he IL not lto rlncks The hrtolsm ont nf
sha VI mat sha1. trr In history Of in ctn, or Il.
epr,lsald melancholy of nnntc IT tho 1ytcrp uuFitY
ot knR Arthur, OF tbc Kaltant bearing nf lvs,ih,n
Dwelling upon tho c,,araeterlstica il, oave tson'
which THO i,aat low. snvr brgn ttnruIlaeiogsiy
70 l,nltase them. Tbr wcaA reh,Nhu,y, wHo
u hla ria. mates, rSals il, cf"s s' so,ss npysi
OF !ho t!uy litlnus,unu Ehou. anil faprlc. hitll.
~ muscular inlr.cir. VILLA lha tns patcnca VI
osrr 1s's.tn!n Shany. sane,r. hltH4tlf tln krrisi
and r1cvr.cst tos elyc. IL IiAt ho II a,,le tu .so
ne ~ hanns and f'!n II Tho aucctsaIsr 1ulhs
sources VIC t!nnk IN ahprrxnt.!a nf characters IN,
Ike o!r own. a,Nl uNrunsclr,lsly aaatiu nj much
OF that 70 much u th'A, null we have built ur
very prrtty monster. ~hu1n VIZ rrRlnl ~ our
OWN ,u.usr. u 4 man we're tunrstiy 10 ut down
nlt describe hls character iulIlItely-1 hr wrfu Ia
accurately X: iown what b" eonaiess its po.etl-
tlnlied and tlnltA III Gnu< act!To IuAtiues AMI
is latent yarturs-he would produce composition
to make ta.a Universe split with laughter
Nov tass @ nas!naty hero whom essEy man cum
hxfe features 10 exprtas thcse noble quAIitics nnl
9tsa token TO hts neighl'or that he Il no comuioa
neeepred a fact. Ali these processes, b. i ~
lnaIAcd, go on unconsctausy, 80 that the acting |
thanInatuIEtss belleFes u his own tricks ie
with this thst ylrsue this or that form II char.
ar'er, his face must reveal the presence Of these
ses he ass apDe,9 na FEEL s,o hI@.sli
he caEe u q Joun2 man who, Ur smooth
Fisage and open dtspoetton, has been struck ny
'ome by1on1c portrait Of gloom aud despair. He
lis particular hero, and be feels that he, too Is
'reh . MAI Being such man, shall he not show
II bis face So he begins 70 fancy that his
cora and moody melancholy. and impatient SCI
lsuuesA lie feels himself IN rapport With these
'hsses q nen.a; eoloSnE. nd his face sa,'.t be
'ollsned features Of q raw Adonis, bat the
narxed and sulkJ phJsiognouy nl Conrad the
And there is another branch to the subject,
dany peoples faces are grossly at fault IN iadcat
nE 1he Qualities which they, The said people, ac-
he want 81 connection between @ ions :I eyelsshss s
md the moral sense has become prpve1biai;
:ad nd while a goodly number Of enthusiasts
cITes thai % icy cas I H. PeSaaa1 fe man 1HeT ~
,is lacs We base, generally. arrived At the coucl1-
lon aas any ng such s5stem o. !n,erp.ctaton
ndccd. one OF the rne A1ts Of society Is The cult
atlon OF uonotonJ In appearance, 50 that you
hall not be able 10 tell the difference between
,on, Dick md Ilasry. when they ait down 10 DIN
e. With the zane shlrtltpnt, the same parting
The hair: the same smooth chin, and spprppri-
re tnoustache, the same atr OF vague an1uor.
part from thls witful rubbing on p1 nn4le.. In |
hca The tuition OF moustache has come TO be
y artied as N important part Of the days lsbo:
1efe y the common case OF the man who against (
e Will hss features strungly marked and incapa-
talism q the victims mind, she5 convey
quite contrary effect But how Ia he to ,
con lie may be aware :hat his mouth and
ose are not the snoath and nose which the
nesn1er BayArt probably poeseseed: bat how
1es ne Know That the divine enthusiasm which
le story Of UayArl s&.1s within him ts not marked
4rsaoe On MS lace: Nay, suppose he Is oniy
,nsc1ons Of q very actual and Practical good na-
re- which Is nla OWL hy natural inheritance and
ot assumed By any mtMesic effort, how IL he 10
etsanle himself taat his hahitual expression Is
ther gloomy moroseuess or utter yaculty. Aul ,
\ thls want Of correspondence between the mind
III the features constantly occurs; AMI It Is the
ost natural thing ID the world that the roa1
loud be quite ignorant oft Hence he iances that
y portrait Of him should reveal whist he knows
re hA OWE disposition. The portrait be ac:ual-
does receive be considers 70 be mere bugbesr
notS, Guz1es1ce, something entirely distinct |
ofn himself Consequently, he bisnes the artist
! The blun1ef that nltunl has committed. He | /
eveF thinks Of studying the tooktnc-glss4. TAdt
saJs 70 himself. only fetects the passing moods
impatience torer wanting button>, anger lover
rough rnzoE}, or despair lover q heatache}. !
aat ne Hants u IN Interpretation OF himself, or
als ideal q himself Nature has not printed
II Ideal leR.bty on hts face: and yet he believes
C has: md be will 20 On believing, IN spite Of
E concurrent testimony of u whole wotilful OF
tnessea ,