Abstract
Abstract When David Octavius Hill first entered into partnership with Robert Adamson in July 1843, Sir David Brewster reported to William Henry Fox Talbot that Hill proposed ‘to apply the Calotype to many other general purposes of a very popular kind, and especially to the execution oflarge pictures representing difft. bodies & classes of individuals’.1 It is, unfortunately, not exactly clear what is meant by this, but the obvious and primary purpose of Hill's association with Adamson was his great painting of the founding of the Free Church of Scotland, ‘The Signing of the Deed of Demission ...’ (figure 1). Brewster had encountered Hill, in May, sketching during the sessions of the new Free Church, and suggested that he could use photography as an aid to capture the likenesses of the several hundred ministers and elders, before they dispersed to their homes throughout Scotland. Hill, wrote Brewster, ‘was at first incredulous’2, and may only have gone to see Robert Adamson from simple politeness. A few tr...
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