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Original Photographs Taken on the Battlefields During the Civil War of the United States

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Original Photographs Taken on the Battlefields During the Civil War of the United States ^> Digitized by the Internet Archive in 2011 with funding from The Institute of Museum and Library Services through an Indiana State Library LSTA Grant http://www.archive.org/details/originalphotograOOeato , g_ / O ov-t sKii t Taken on the BATTLEFIELDS During the Civil War of the United States By Mathew B. Brady and Alexander Gardner Who operated under the Authority of the War Department and the Protection of the Secret Service Rare Reproductions from Photographs Selected from Seven Thousand Original Negatives Taken under Most Hazardous Conditions in the Midst of One of the Most Terrific Conflicts of Men that the World Has Ever Known, and in the Earliest Days of Photography—These Negatives Have Been in Storage Vaults for More than Forty Years and are now the rttiai? (EflUrrttfltt of lE&war& latbg iEatntt Valued at $150,000 FIRST PRESENTATION FROM THIS HISTORIC COLLECTION MADE OFFICIALLY AND EXCLUSIVELY BY THE OWNER iSartfdrti. GJonttrrtirut 19Dr COPYRIGHT 1907 BY E. U. EATON COPIES OF THIS ALBUM MAY BE OBTAINED BIT A REMITTANCE OF THREE DOLLARS TO EDWARD B. EATON HARTFORD. CONNECTICUT PUBLISHER Martyrs on Altar of Civilization IIS is undoubtedly the most valuable collection the children a pension of fifty pounds per annum on the " TI of historic photographs in America. It is be- FRANCIS TREVELYAN MILLER ground that their father was the discoverer of a scienti- lieved to be the first time that the camera was fic process of great value to the nation, from which the of American History Editor of the Journal " used so extensively and practically on the battle-field. inventor had reaped little or no benefit It is the first known collection of its size on the Western This was in 1 857, and four years later, when the Continent and it is the only witness of the scenes enacted American Republic became rent by a conflict of brother during the greatest crisis in the annals of the American against brother, Mathew B. Brady of Washington and nation. As a contribution to history it occupies a position New York, asked the permission of the Government that the higher art of painting, or scholarly research and and the protection of the Secret Service to demonstrate literal description, can never usurp. It records a tragedy the practicability of Scott-Archer's discovery in the severest that neither the imagination of the painter nor the skill test that the invention had ever been given. Brady was of the historian can so dramatically relate. an artist by temperament and gained his technical knowl- The existence of this collection is unknown by the edge of portraiture in the rendezvous ot Paris, lie had public at large. Even while this book has been in pre- been interested in the discoveries of Niepce and paration eminent photographers have pronounced it im- Daguerre and Fox-Talbot along the crude lines of possible, declaring that photography was not sufficiently photography but with the introduction of the collodion advanced at that period to prove of such practical use process of Scott-Archer he accepted the science as a profes- in War. Distinguished veterans of the Civil War have sion and, during twenty-five years of labor as a pioneer informed me that they knew positively that there were photographer, took the likenesses of the political celebrities no cameras in the wake ot the army. This incredulity of the epoch and of eminent men and women through- of men in a position to know the truth enhances the out the country. value of the collection inasmuch that its genuineness Brady's request was granted and he invested heavily in MATHEW BRADY. FIRST WAR PHOTOGRAPHER IN AMERICA is officially the those specially for the usage of proven by testimony of who saw He followed the Armies during the Civil War and secured these remark- cameras which were made hard the pictures taken, by the personal statement of the man able Negatives— In conference with Major-General Burnside at the Head- warfare. These cameras were cumbersome and were quarters of the Army of the Potomac near Richmond, Virginia- Brady who took them, and by the Government Records. For occupies the chair directly in front of the tree while General Burnside operated by what is known as the old wet-plate process, is reading a newspaper—This picture was found among his negatives forty-two years the original negatives have been in storage, requiring a dark room which was carried with them onto secreted from public view, except as an occasional proof the battle-fields. The experimental operations under is drawn for some special use. How these negatives came into the Civil War in the United States, there died in Brady proved so successful that they attracted the im- to be taken under most hazardous conditions in the storm London one named Scott-Archer, a man who had found mediate attention of President Lincoln, General Grant and stress of a War that threatened to change the entire one of the great factors in civilization, but died poor and and Allan Pinkerton, known as Major Allen and chief history of the world is itself an interesting historical in- before his time because he had overstrained his powers in of the Secret Service. Equipments were hurried to all cident. Moreover, it is one of the tragedies of genius. the cause ot science. It was necessary to raise a sub- divisions of the great army and some of them found their While the clouds were gathering, which finally broke scription for his widow, and the government settled upon way into the Confederate ranks. a^pM-IE1 black art," by which Brady secured these pho- tographs, was as mysti- fying as the work of a magician. It required a knowledge of chemistry and, considering the dif- ficulties, one wonders how Brady had courage to undertake it on the bat- tle-field. He first immersed eighty grains of cotton-wool in a mixture of one ounce each of nitric and sulphuric acids for fifteen seconds, washing them in running water. The pyroxy- lin was dissolved in a mixture of equal parts of sulphuric ether and ab- solute alcohol. This solution gave him the ordinary collodion to which he added iodide of potassium and a little potassium bromide, lie then poured the iodized collodion on a clean piece of sheet glass and allowed two or three minutes for the film to set. The coated plate was taken into a "dark room." which Brady carried with him, and immersed for about a minute in a bath of thirty grains of silver nitrate to every ounce of water. The plate was now sensitive to white light and must be placed immediately in the camera and exposed and devel- oped within five minutes to get good results, especially in the South during the summer months. It was returned to the dark room at once and devel- oped by pouring over it a mixture of water, one ounce; acetic acid, one dram ; pyrogallic acid, three grains, and "fixed" by soaking in a strong solution of hyposulphite of soda or cyanide of potassium. This photo- graph shows Brady's "dark room" in the Confederate lines southeast of Atlanta, Georgia, shortly before the battle of July 22. 1864. It is a fine example of wet-plate photography. secret never has been divulged. How Mr. money accumulated in early portraiture and was heavily tion to It THE American history. indorsed the proposal to Brady gained the confidence ofsuch men as Jeffer- in debt. Seven thousand of his negatives were sent to place the collection permanently with the New York son Davis and General Robert E. Lee, and was New York as security for Anthony, his largest creditor. Historical Society. General Ulysses S. Grant had been passed through the Confederate lines, may never be The remaining six thousand negatives were placed in a much interested in the work of Brady on the battlefield, known. It is certain that he never betrayed the con- warehouse in Washington. Brady then began negotia- and in a letter written on February third, 1866, spoke of fidence reposed in him and that the negatives were not tions for replenishing his funds by disposing of the prop- it as "a collection of photographic views of battlefields used for secret service information, and this despite the erty. He exhibited proofs of his negatives in galleries taken on the spot, while the occurrences represented were fact, that Allan Pinkerton and the Artist Brady were taking place." General Grant added: "1 knew when many intimate. Neither of these men had any idea of the of these representations were being taken and I can say years which the conflict was to rage and Mr. Brady ex- that the scenes are not only spirited and correct, but also pended all his available funds upon paraphernalia. The well-chosen. The collection will be valuable to the government was strained to its utmost resources in keep- student and artist of the present generation, but how much " ing its defenders in food and ammunition. It was not more valuable it will be to future generations ? concerned in the development of a new science nor the These were days of reconstruction. It was almost preservation of historical record. It faced a mighty foe impossible to interest men in matters not pertaining to of its own blood. It must either fall or rise in a decisive the re-establishment of Commerce and Trade. Brady blow. had spent twenty-live years in collecting the portraits of It was indeed a sorry time for an aesthete. Mr. distinguished personages and endeavored to dispose of Brady was unable to secure money.
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