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HLB 26-3 Harvard Archives BOOK Final.Indb 4 12/29/2016 6:41:06 PM Figure 2.1 “We carry with us precious memorials”: Early Harvard class photograph albums The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Banta, Melissa. 2016. “We carry with us precious memorials”: Early Harvard class photograph albums. Harvard Library Bulletin 26 (3), Fall 2015: 4-30. Citable link https://nrs.harvard.edu/URN-3:HUL.INSTREPOS:37363310 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “We Carry With Us Precious Memorials”: Early Harvard Class Photograph Albums Melissa Banta hanks to the aid of photography we are enabled, “ as we take leave of each other to day, to carry with us precious memorials of college associations and college friendships,” Charles Carroll Tower, T 1 Harvard Class of 1855, wrote. With the introduction of photography in the mid- nineteenth century, Harvard graduates could remember their college years with a new fdelity—whether through evocative portraits of classmates and faculty or graceful scenes of Harvard Yard. Harvard commissioned photographers from prestigious studios in Cambridge and Boston, a bustling center of photographic activity and innovation, to take the class pictures. Te earliest portraits of graduating seniors, created in 1852, were daguerreotypes, unique images on a silver plate. From 1853 to 1864, class photographs took the form of salted paper prints, the frst negative-to-positive technique. Year by year, photographers perfected the science and artistry of this pioneering process, producing beautifully composed images with remarkable detail and tonal rendition (see fgure 2.1). Te seniors assembled the images into custom-made albums that started as simple notebooks and by the 1860s transformed into handsome, gilt-edged tomes. Te evolution of class albums refect the tender ways in which students embraced the art of photography to commemorate this formative period of their lives for themselves and for posterity—at the moment when Harvard itself was transitioning from a provincial college into a major university. “The First Class to Set the Example”: 1852 “ ’52 was the frst Harvard Class to set the example which has ever since been followed,” the Annals of the Harvard Class of 1852 noted. “Te pictures were of course daguerreotypes . [I]t is a signifcant fact that eighty-fve men should have thought 1 Charles Carroll Tower, “Photography,” Commencement Essay, July 16, 1856. HUC 6856. 4 “We Carry With Us Precious Memorials” HLB 26-3 Harvard Archives BOOK final.indb 4 12/29/2016 6:41:06 PM Figure 2.1. Oliver Wendell Holmes, Class of 1861 Album. George Kendall Warren, salted paper print, 1861. Oval 15.4 x 12.2 cm on an album page, 31.8 cm. HUD 261.04.4 F. Melissa Banta 5 HLB 26-3 Harvard Archives BOOK final.indb 5 12/29/2016 6:41:06 PM it worth while to make the trip to town for the purpose of sitting.” 2 The seniors traveled to Boston to the sky-lit studio of John Adams Whipple, located among printing presses and pub- lishing houses on Washington Street, where the photographer took a daguerreotype of each student. Te technique involved sensitizing a silver-coated copper plate with iodide, exposing the plate in the camera, and then developing the image with mercury vapor. Whipple combined a technical and mechanical ingenuity with a distinct artistic style, and the clear, luminous quality of his Figure 2.2. Rufus Choate, Class of 1852. John Adams 1852 daguerreotype portraits Whipple, daguerreotype, 1852. 7 x 8 cm. HUD 252.716 vt. represents a stunning example of artistry and innovation. “Perhaps [the senior] will never again enjoy all the advantages with none of the drawbacks of being a personage so fully as now,” James Russell Lowell, Harvard professor of modern languages, wrote. “He is the leading fgure in this little world.” 3 To capture this feeting moment in the graduates’ lives, Whipple employed one of his newly patented techniques, “crayon portraiture.” He positioned a light screen behind the sitter, and in front of the camera lens he placed a card with an aperture, which he moved around slightly as he took the exposure. Te method created a difused, sof, vignette efect. Whipple produced the daguerreotypes as sixth plates, which measured 2¾ by 3¼ inches. Te entire set of eighty-fve Class of 1852 daguerreotypes ft into a beautifully designed, custom-made chest of wooden drawers, each drawer holding twelve plates (see fgure 2.2). Students usually entered Harvard at age seventeen, a “herd of raw, half informed, half instructed boys,” one journalist remarked, who transformed into “well informed, 2 Grace Williamson Edes, Annals of the Harvard Class of 1852 (Cambridge: Privately printed, 1922), 272. 3 James Russell Lowell, “Class Day,” in Te Harvard Book: A Series of Historical, Biographical, and Description Sketches, 2 vols. (Cambridge, Mass.: Welch, Bigelow, and Company, 1875), 2:170. 6 “We Carry With Us Precious Memorials” HLB 26-3 Harvard Archives BOOK final.indb 6 12/29/2016 6:41:06 PM well bred men, useful members of society, if not indeed, its leaders.” 4 Nearly half of the Class of 1852 would become lawyers, and others went on to careers as clergymen and physicians. Eight graduates would die in the Civil War, on the Union and Confederate sides. But on the eve of graduation, the portraits reveal breezy, jovial characters, who as Joseph Choate, Class of 1852, remembered, were “[b]lessed with all the spirits of youth with no responsibilities, no cares, and with only the inspiration of our individual ambition.” 5 Te daguerreotype was a one-of-a-kind image, though photographers could take a copy daguerreotype of an original plate if they wanted to create a copy in the form of another daguerreotype. For the Harvard portraits, however, Whipple decided to use the salt print process, the frst negative-to-positive photographic technique, introduced by the Englishman William Henry Fox Talbot in 1839. By making a negative of each daguerreotype, Whipple could generate multiple paper copies of the portraits. Early salt prints tended to exhibit the fbrous quality of both the paper negative and the resulting paper print. Glass-plate negatives, however, improved the sharpness of the image. In one of Whipple’s inventions, he coated a glass-plate negative with albumen from eggs, which he found to be the best bonding agent to adhere light- sensitive chemicals to the glass-plate.6 Whipple referred to the albumen glass-plate negatives and resulting prints as “crystalotypes,” alluding to the improved clarity of the images. Te photographer patented his formula, which he publicized widely in advertisements for his studio (see fgure 2.3).7 Not only did the paper copies of class daguerreotype portraits symbolize precious mementos for fellow classmates, they also inspired the frst class albums at Harvard, which initially took the form of small notebooks. A class committee took responsibility for assembling the images into an ofcial class volume, which the college librarian advised placing in the newly established University Archives. During reunions, commencements, and other festivities, graduates could return to view the class album in the Archives, which housed university and alumni records.8 4 Te Monthly Chronicle 2, no. 1 (Boston: Samuel N. Dickinson, 1841): 67. 5 Edward Sandford Martin, Te Life of Joseph Hodges Choate, 2 vols. (New York: Charles Scribner’s Sons, 1921), 1:74. 6 Claude Felix Abel Niépce de Saint Victor in France and the Langenheim brothers in Philadelphia were experimenting with the egg albumen binders on glass-plate negatives at this time as well. 7 See United States Patent No. 7458. 8 Classes before 1852 also created albums of graduate portraits years afer their graduation. At a meeting on commencement day in 1867, the class of 1844, for example, proposed “to procure a photograph of each member of the Class, and to preserve the same in an album.” See “Te Class Album,” Te Class of 1844, Harvard College: Fify Years’ Afer Graduation. (Cambridge, Mass.: John Wilson and Son, University Press, 1896), 344. Melissa Banta 7 HLB 26-3 Harvard Archives BOOK final.indb 7 12/29/2016 6:41:06 PM Figure 2.3. Title page and portrait of Horatio Alger, Class of 1852 Album. John Adams Whipple, crystalotype print, copy of daguerreotype, 1852. 5.6 x 4.7 cm on an album page, 15.5 cm. HUD 252.705p. Te practice of adding later portraits to the ofcial class album was also encouraged. In 1863, the 1852 class committee wrote, “It is now proposed to form, for the archives of the Class, a collection of photographs of its members, taken at diferent times since its graduation. Each member is expected to send to the class-secretary, or to bring in person on Commencement Day, copies of such card-photographs of himself as he may have had taken at any time, and to do his part in the future toward keeping up the collection.” 9 Next to the young face of Horatio Alger, Class of 1852, noted as the smallest boy in the class and the “President’s Freshman” (a student who performed errands for a small stipend), is a portrait taken twenty years later, at which time Alger had become a celebrated author of juvenile literature. Te practice became formalized and invited intriguing before and afer comparisons. As an anonymous writer leafng through an 1855 class album observed, “Te hair may whiten, the beard may conceal 9 Horace H. Coolidge, Henry G. Denny, and Calvin G.
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