1 Webster's New Universal Unabridged Dictionary (New York: Randomn House, 1996), definitions no. 7, 8, and 12 respectively.

2 I am using the term "inventorial photograph" as it is discussed in Professor Carol Armstrong's Scenes in a Library: Reading the Photograph in the Book, 1843-1875 (Cambridge & London: The MIT Press, 1998), p. 126.

3 Charles Baudelaire, "The Salon of 1859" in Charles Baudelaire: Art in Paris 1845-1862, trans. and ed. Jonathan Mayne (London & New York: Phaidon Press, 1965), 154.

4 Sir John Herschel, Preliminary Discourse on the Study of Natural Philosophy (London: Longman, Reés, Ormé, Brown & Green, 1830), 118 and reprinted in Larry J. Schaaf, Out of the Shadows: Herschel, Talbot and The Invention of Photography (New Haven & London: Yale University Press, 1992).

5 Armstrong, 126.

6 Ibid., 132.

7 Talbot, as amateur chemist and physicist, was influenced by and exerted influence upon some of the known scientific minds of his age including Sir John Herschel, as is discussed at length by Carol Armstrong and as such employs and "proves" the natural philosophy of positivism.

8 Armstrong, 141.

9 Talbot in his caption to Plate III, The Pencil of Nature, and reprinted in Armstrong, 139.
10 Michel Foucault, The Order of Things: An Archaeology of the Human Sciences (New York: Randomn House, 1970, 1994), 131.

11 Ibid., 144.

12 Peter Wollen, Introduction to Visual Display: Culture Beyond Appearances, ed. Lynne Cooke and Peter Wollen (Seattle: Bay Press, 1995), 9.

13 On this notion of the reader as meaning-maker, Roland Barthes is the original source, as has also been noted by Professor Armstrong in her footnote number 18 to Chapter 2 of Scenes in a Library. His relation and credit to my own discussion here should be expanded upon.

14 Susan Stewart, "Death and Life, in that order, in the Works of Charles Wilson Peale" in Visual Display: Culture Beyond Appearances, 31.

15 Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Durham & London: Duke University Press, 1993), 133.

16 Ibid., 135.

17 Jean Baudrillard, The System of Objects, trans. James Benedict (London & New York: Verso, 1996), 95.

18 Webster's New Universal Unabridged Dictionary (New York: Randomn House, 1996).

19 Rosalind E. Krauss, Passages in Modern Sculpture (New York: Viking Press, 1977), 16.

20 William Henry Fox Talbot, in Literary Gazette (February 2, 1839), 74, and reprinted in Gail Buckland, Fox Talbot and the Invention of Photography (London: Scolar Press, 1980), 31.

21 Ibid.

22 Krauss, 16-17.

23 An expanded view into the relationship between photography and the grid could take one into the more contemporary projects of Bruce Nauman, Bernd and Hilla Becher, Gerhard Richter, Hanne Dharboven, and more recently the Icelandic artist, Olafur Eliason, just to name a few.

24 Krauss, 19.

25 Talbot as quoted in Larry J. Schaaf, Out of the Shadows: Herschel, Talbot and The Invention of Photography (New Haven & London: Yale University Press, 1992), 51.

26 William Henry Fox Talbot, The Pencil of Nature (London: Longman, Brown, Green and Longmans, 1844), 3.

27Jean Baudrillard, The System of Objects, trans. James Benedict (London & New York: Verso, 1996), 97.

28Talbot, The Pencil of Nature, caption for Plate III.

29Talbot, The Pencil of Nature, n.p..

30 Carol Armstrong, Scenes in a Library, footnote from Chapter 2, No. 18, 459-460.

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