WHAT WAS HER NAME? There was an inscription written on the copper side of the daguerreotype that is nearly impossible to decipher. I have never seen a sixth plate portrait where the sitter had more beautiful, almond eyes then this stunning girl. She was quite lovely and so calmly posed that I want to know her better. The plaid dress had wide, white lace under sleeves and a matching collar. The demure subject placed one hand inside the opposite sleeve while resting both arms across her waist. That delicate, black velvet ribbon at her throat was tied off center, which I find very compelling. A slice of the small wooden chair was visible on the left side near the border of the very fancy scalloped mat. Her perfectly formed lips were slightly separated revealing a tiny gap between her middle teeth. Long dangling jewelry cascaded from the small holes in her pierced ears. Those dark tresses were parted in the center and fashionably swept back above her ears. The daguerreotypist used very even full-frontal illumination to capture her likeness on an elegant silver palette. The light source was a wall of brightness directly behind him. In fact, the focus was so precise that his camera was readily apparent silhouetted in her brown eyes. Please see the second scan. The gal’s portrait was absolutely perfect in technique and quality. The masterwork has been professionally conserved. I have previously commented about attractive brown tones seen in certain daguerreotypes. Few examples have ever approached the brilliant natural colors revealed in the subtle shades that are accentuated by patina on the periphery. I don’t know the origins of this teenager, but I will contend that she was revered for her physical features. Her face was a rhapsody of perfection, like a new rose blossom glistening with early morning dew, illuminated just as the sun’s slanting rays peeked above the horizon. A mint brown thermoplastic frame only adds to the magnificent presence of the youthful sitter.