Camera Work: A Photographic Quarterly (1905 (Heft 11))

abundantly evident, however, that he had an absolute genius for seeing his
sitters in a grand and impressive manner. His spacing is always perfect, his
masses of light and shade are always broad and simple, and his pictures
possess that power and distinction so difficult to describe or explain but
which is always apparent in the work of a master and distinguishes it from
that of an earnest conscientious practitioner of less capacity.
The portrait of Dr. Munro illustrates very well the qualities alluded
to. It is simple and powerful to a high degree. There is no evidence of
conscious posing, yet the head and hands are admirably disposed and the
whole picture is in excellent tone. Dr. Munro was the third of three
generations who for one hundred and twenty-six consecutive years filled
the chair of anatomy in the University of Edinburgh, and one could
imagine that in those days, when anesthetics were little known, he would
amputate a limb without having his feelings specially harrowed by the
sufferings of his patient.
A volume would be necessary to treat of all the notable persons who
were portrayed by Hill's camera. Nearly all his contemporary Academicians
sat to him, many of them in various costumes, and one can imagine their
delight in the wonderful results of the new process. They were a picturesque
group, but hardly more so than the professors, literary men, lawyers, and
aristocrats who also posed for him.
That he was possessed of humor is indicated by the portrait reproduced
of Lady Ruthven. The pose suggests that it was not chosen for its quaint
grace alone, and as a companion portrait to the full length of her liege lord,
who stands in the orthodox manner, it is distinctly amusing. The Lady
herself may have been, to some extent, responsible for the picture. She
was one of the leaders of the intellectual society of Edinburgh for many
years and was as noted for her wit as for her knowledge of literature, art, and
music. She was an intimate friend of Sir Walter Scott, and her picturesque
old house of Winton was the original of his Ravenswood Castle in the
" Bride of Lammermoor
Hill was certainly fortunate in his sitters, but the sitters were equally
fortunate in their photographer.
renderings of Sir Francis Grant, P.R.A., of Etty, of Mrs. Jameson, the
well-known authoress of ccThe Early Italian Painters,,> etc., and others.
The photograph of Mrs. Jameson and that of Mrs. Rigby are probably
Hilfs finest female portraits. They both contain the qualities which we
have ascribed to his male studies, and without in any way diminishing the
artistic strength of the compositions he has successfully imbued them with
the spirit of feminine grace and refinement. We know of no sweeter present-
ment of old age by photography than this charming portrait of Mrs. Rigby.
She was the mother of the gifted Lady Eastlake, and one can well imagine
from her features and her beautiful head-dress that she also was possessed of
considerable intellectual and artistic qualities.
Hill was certainly fortunate in his sitters, but the sitters were equally
fortunate in their photographer.