This much-admired work is now in the care of Mr. Edwards, who has taken it to Boston for exhibition. After his return hither he will take from it some Daguerreotypes, and all who are desirous to avail themselves of the opportunity should bear in mind that they may not long be able to obtain copies, which, for our own part, we would not exchange for the original.
Daguerreotypes from the living subject are rarely satisfactory, and often odious caricatures, because the need of keeping the face perfectly still, and the consciousness that attends it disturbs or dulls the expression. Beside, few faces will bear being represented just as they are; to make a portrait what is vulgarly called natural, the artist must seize upon leading points in the character, and bring out some things into full light and leave others in shadow accordingly. Daguerreotypes taken from tolerable pictures or busts, generally give a more correct idea of the face than when taken direct from itself, because the artist saw that expression which vanishes while the sitter stares directly before him, with no thought possible lest he should move a muscle before he is taken, or rather executed. Their use is to multiply rather than to originate portraits.
From statuary they are still better than from pictures, and persons in limited circumstances will be able, in this way, to possess facsimiles of the most beautiful works of art. This of the Christ will give an idea of what may be hoped in this way, the body seems to give back the light which placed it there with such fulness and minuteness of delineation.
“The Ivory Christ.” New-York Daily Tribune, 27 November 1845, p. 2.