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256 E. EPSTEAN [J. S. M. P. E.
negatives, he abandoned the use of silver chloride and began experiments with asphaltum. While successful in the copying of engravings by contact, he turned back in 1826, substituting glass for metal and paper, to intaglio etching of images obtained in the camera. But he did not succeed in reproducing the middle tones, and in that year — 1826 — Daguerre heard of Niepce through the Paris optician Chevalier, and in 1829 we find Niepce sending to Daguerre "a view from nature engraved on a silvered pewter plate." He met Daguerre personally in August, 1827, on a trip through Paris. At that time Daguerre's progress had resulted in nothing but fantastic experiments, without any significance in obtaining images by the action of light, while Niepce had achieved actual results before the end of 1822. Toward the end of 1827, while visiting his dying brother in England, Niepce presented to the Royal Society a short memoir entitled "Heliographie, dessins et gravures." Since, however, he did not disclose the details of his manipulations the communication was returned, unread, by the Society. Returning to Paris in January, 1828 he was urged by his friends during his stay, which was prolonged until the end of February, to join Daguerre in perfecting and exploiting his invention. It was in 1829 that Niepce first used iodine to blacken the silvered background of his images. In December of that year articles of partnership were drawn at Chalon-sur-Sa6ne between Niepce and Daguerre, on a visit Daguerre paid to Niepce for this purpose. Niepce died on July 5, 1833, in his sixty-ninth year.
Louis Mande Daguerre (1767-1851), the other pioneer honored at this Centenary, had none of the culture and scientific training which Niepce enjoyed in his youth. He was preeminently an artist, blessed with imagination, seeking fame and publicity, and fortunate in having powerful friends. We have no record of his having had any preparation for chemistry or optics of photography. But he showed a positive genius for adapting the ideas of others. His share in the invention of photography was not disclosed until six years after the death of his partner, to whom little credit was given in the publication of the daguerreotype process. Having been sent to Paris in his youth to study art, he eventually, in collaboration with the distinguished painter, Bouton, created the Diorama, a marked improvement on the panorama. Incidentally, the panorama was introduced in Paris by the American, Robert Fulton, the inventor of the steamboat, during a visit from 1800-1804. Daguerre's novel lighting effects added to the mobility of the scene and to the attractiveness of the colors in the