Old Fashion Fresnel De Cine 1950

Type of image projector

19th century magic lantern with printed slide inserted (upright, then when lit, the lantern projected an inverted picture show)

The magic lantern, also known by its Latin name laterna magica , is an early blazon of image projector that used pictures—paintings, prints, or photographs—on transparent plates (unremarkably fabricated of glass), one or more lenses, and a calorie-free source. It was mostly developed in the 17th century and normally used for entertainment purposes. It was increasingly used for education during the 19th century. Since the late 19th century, smaller versions were also mass-produced as toys. The magic lantern was in broad use from the 18th century until the mid-20th century when it was superseded by a compact version that could hold many 35 mm photographic slides: the slide projector.

Engineering science [edit]

Apparatus [edit]

A folio of Willem 's Gravesande's 1720 book Physices Elementa Mathematica with Jan van Musschenbroek's magic lantern projecting a monster. The depicted lantern is ane of the oldest known preserved examples, and is in the collection of Museum Boerhaave, Leiden

The magic lantern used a concave mirror behind a light source to direct the low-cal through a minor rectangular sheet of glass—a "lantern slide" that bore the prototype—and onward into a lens at the front of the apparatus. The lens adjusted to focus the airplane of the slide at the distance of the project screen, which could be merely a white wall, and information technology therefore formed an enlarged prototype of the slide on the screen.^[1] Some lanterns, including those of Christiaan Huygens and January van Musschenbroek, used 3 lenses for the objective.

Biunial lanterns, with two objectives, became common during the 19th century and enabled a smoothen and like shooting fish in a barrel change of pictures. Stereopticons added more powerful low-cal sources to optimize the projection of photographic slides.

Slides [edit]

Originally the pictures were mitt painted on glass slides. Initially, figures were rendered with black pigment only before long transparent colors were also used. Sometimes the painting was washed on oiled paper. Usually black paint was used equally a background to cake superfluous light, so the figures could be projected without distracting borders or frames. Many slides were finished with a layer of transparent lacquer, but in a later period cover glasses were as well used to protect the painted layer.^[2] Well-nigh handmade slides were mounted in wood frames with a round or foursquare opening for the picture.^[iii]

A newspaper rimmed mass-produced slide

After 1820 the manufacturing of hand colored printed slides started, often making use of decalcomania transfers.^[4] Many manufactured slides were produced on strips of drinking glass with several pictures on them and rimmed with a strip of glued newspaper.

The first photographic lantern slides, called hyalotypes, were invented by the German language-born brothers Ernst Wilhelm (William) and Friedrich (Frederick) Langenheim in 1848 in Philadelphia and patented in 1850.^{[5] [6] [7]}

Light sources [edit]

Apart from sunlight, the only light sources available at the fourth dimension of invention in the 17th century were candles and oil lamps, which were very inefficient and produced very dim projected images. The invention of the Argand lamp in the 1790s helped to make the images brighter. The invention of limelight in the 1820s made them fifty-fifty brighter. The invention of the intensely bright electrical arc lamp in the 1860s eliminated the demand for combustible gases or chancy chemicals, and somewhen the incandescent electric lamp further improved condom and convenience, although not brightness.^[8]

Precursors [edit]

Several types of projection systems existed earlier the invention of the magic lantern. Giovanni Fontana, Leonardo da Vinci and Cornelis Drebbel described or drew image projectors that had similarities to the magic lantern.

In the 17th century, there was an immense interest in optics. The telescope and microscope were invented (in 1608 and the 1620s respectively) and apart from being useful to some scientists, such instruments were especially popular as entertaining curiosities to people who could beget them.^[9] The magic lantern would show a perfect successor.

Photographic camera obscura [edit]

The magic lantern can be seen equally a further evolution of camera obscura. This is a natural phenomenon that occurs when an image of a scene at the other side of a screen (for instance a wall) is projected through a small hole in that screen every bit an inverted paradigm (left to correct and upside down) on a surface opposite to the opening. It was known at to the lowest degree since the fifth century BC and experimented with in darkened rooms at least since circa yard Advertising. The use of a lens in the pigsty has been traced back to circa 1550. The portable camera obscura box with a lens was developed in the 17th century. Dutch inventor Cornelis Drebbel is thought to take sold one to Dutch poet, composer and diplomat Constantijn Huygens in 1622,^[10] while the oldest known clear description of a box-type photographic camera is in German Jesuit scientist Gaspar Schott's 1657 volume Magia universalis naturæ et artis.

Steganographic mirror [edit]

Illustration of Kircher's Steganographic mirror in his 1645 book Ars Magna Lucis et Umbrae

The 1645 kickoff edition of German Jesuit scholar Athanasius Kircher's book Ars Magna Lucis et Umbrae included a description of his invention, the "Steganographic Mirror": a primitive projection organisation with a focusing lens and text or pictures painted on a concave mirror reflecting sunlight, mostly intended for long-distance communication. He saw limitations in the increment of size and diminished clarity over a long altitude and expressed his hope that someone would find a method to improve on this.^[eleven]

In 1654, Belgian Jesuit mathematician André Tacquet used Kircher'south technique to bear witness the journey from Prc to Belgium of Italian Jesuit missionary Martino Martini.^[12] Some reports say that Martini lectured throughout Europe with a magic lantern, which he might accept imported from China, but there's no evidence that it used annihilation other than Kircher's technique. However, Tacquet was a contributor and friend of Christiaan Huygens^[13] and may thus accept been a very early on adapter of the magic lantern technique that Huygens developed around this catamenia.

Invention [edit]

Christiaan Huygens [edit]

A sketch of the lantern configuration (without a slide) from Huygens' letter to Pierre Petit (11 December 1664)

Huygens' 1659 sketches for a projection of Death taking off his caput

Prominent Dutch scientist Christiaan Huygens, is present widely accepted as the true inventor of the magic lantern. He knew Athanasius Kircher'southward 1645 edition of Ars Magna Lucis et Umbrae ^[14] which described a archaic projection system with a focusing lens and text or pictures painted on a concave mirror reflecting sunlight. Christiaan's male parent Constantijn had been acquainted with Cornelis Drebbel who used some unidentified optical techniques to transform himself and to summon wonderful appearances in magical performances. Constantijn Huygens wrote very enthusiastically well-nigh a camera obscura device that he got from Drebbel in 1622.

The oldest known document concerning the magic lantern is a folio on which Christiaan Huygens made ten small sketches of a skeleton taking off its skull, above which he wrote "for representations by means of convex glasses with the lamp" (translated from French). As this folio was establish between documents dated in 1659, it is believed to have been made in the same year.^[15] Huygens before long seemed to regret this invention, as he thought information technology was besides frivolous. In a 1662 letter of the alphabet to his blood brother Lodewijk he claimed he idea of it as some old "bagatelle" and seemed convinced that it would harm the family's reputation if people plant out the lantern came from him. Christiaan had reluctantly sent a lantern to their father, but when he realized that Constantijn intended to testify the lantern to the court of King Louis Fourteen of France at the Louvre, Christiaan asked Lodewijk to sabotage the lantern.^[16]

Huygens' 1694 laterna magica sketch, showing: "speculum cavum (hollow mirror). lucerna (lamp). lens vitrea (glass lens). pictura pellucida (transparent picture). lens altera (other lens). paries (wall)."

Christiaan initially referred to the magic lantern as "la lampe" and "la lanterne", but in the concluding years of his life he used the so common term "laterna magica" in some notes. In 1694, he drew the principle of a "laterna magica" with two lenses.^[17]

Walgensten, the Dane [edit]

Walgensten'due south magic lantern equally illustrated in Claude Dechales Cursus seu mundus mathematicus - Tomus secundus (1674)

Thomas Rasmussen Walgensten (c. 1627 – 1681), a mathematician from Gotland, studied at the university of Leyden in 1657–58. He possibly met Christiaan Huygens during this time (and/or on several other occasions) and may have learned about the magic lantern from him. Correspondence between them is known from 1667. At to the lowest degree from 1664 until 1670, Walgensten demonstrated the magic lantern in Paris (1664), Lyon (1665), Rome (1665-66), and Copenhagen (1670).^[9] He "sold such lanterns to different Italian princes in such an amount that they now are almost everyday items in Rome" co-ordinate to Athanasius Kircher in 1671.^[xviii] In 1670, Walgensten projected an image of Expiry at the court of Rex Frederick III of Denmark. This scared some courtiers, but the male monarch dismissed their cowardice and requested to repeat the figure three times. The king died a few days after. After Walgensten died, his widow sold his lanterns to the Danish Royal collection, but they have non been preserved.^[9] Walgensten is credited with coining the term "Laterna Magica",^[nineteen] assuming he communicated this proper noun to Claude Dechales who, in 1674, published about the machine of the "brainy Dane" that he had seen in 1665 in Lyon.^{[xx] [21]}

Possible German origins: Wiesel and Griendel [edit]

At that place are many gaps and uncertainties in the magic lantern's recorded history. A carve up early magic lantern tradition seems to accept been developed in southern Germany and includes lanterns with horizontal cylindrical bodies, while Walgensten'south lantern and probably Huygens' both had vertical bodies. This tradition dates at least to 1671, with the inflow of instrument maker Johann Franz Griendel in the urban center of Nürnberg, which Johann Zahn identified equally one of the centers of magic lantern production in 1686. Griendel was indicated every bit the inventor of the magic lantern by Johann Christoph Kohlhans in a 1677 publication.^[22] It has been suggested that this tradition is older and that instrument maker Johann Wiesel (1583–1662) from Augsburg may have been making magic lanterns earlier on and possibly inspired Griendel and even Huygens. Huygens is known to have studied samples of Wiesel'southward lens-making and instruments since 1653. Wiesel did make a transport'due south lantern effectually 1640 that has much in mutual with the magic lantern design that Griendel would later utilise: a horizontal cylindrical torso with a rosette chimney on top, a concave mirror behind a fixture for a candle or lamp inside and a arched lens at the front. There is no prove that Wiesel actually ever fabricated a magic lantern, just in 1674, his successor offered a variety of magic lanterns from the same workshop. This successor is thought to have only continued producing Wiesel'southward designs afterward his death in 1662, without adding annihilation new.^[23]

Further history [edit]

Early on adopters [edit]

Before 1671, only a small circle of people seemed to have knowledge of the magic lantern, and well-nigh every known study of the device from this menstruum had to do with people that were more than or less directly connected to Christiaan Huygens. Despite the rejection expressed in his letters to his brother, Huygens must have familiarized several people with the lantern.

In 1664 Parisian engineer Pierre Petit wrote to Huygens to enquire for some specifications of the lantern, because he was trying to construct ane after seeing the lantern of "the dane" (probably Walgensten). The lantern that Petit was constructing had a concave mirror behind the lamp.^[24] This directed more light through the lens, resulting in a brighter projection, and it would become a standard part of almost of the lanterns that were made later. Petit may have copied information technology from Walgensten, only he expressed that he made a lamp stronger than whatsoever he had ever seen.

Starting in 1661, Huygens corresponded with London optical instrument-maker Richard Reeve.^[9] Reeve was soon selling magic lanterns, demonstrated one in his shop on 17 May 1663 to Balthasar de Monconys,^[25] and sold one to Samuel Pepys in August 1666.^{[26] [27]}

Illustration from Kircher's 1671 Ars Magna Lucis et Umbrae - projection of hellfire or purgatory

Analogy from Kircher's 1671 Ars Magna Lucis et Umbrae - projection of Death

1 of Christiaan Huygens' contacts imagined how Athanasius Kircher would employ the magic lantern: "If he would know almost the invention of the Lantern he would surely affright the cardinals with specters."^[28] Kircher would eventually larn about the beingness of the magic lantern via Thomas Walgensten and introduced it equally "Lucerna Magica" in the widespread 1671 second edition of his book Ars Magna Lucis et Umbrae.^[29] Kircher claimed that Thomas Walgensten reworked his ideas from the previous edition of this volume into a meliorate lantern. Kircher described this improved lantern, but it was illustrated in a confusing manner:^[xxx] the pictures seem technically incorrect—with both the projected paradigm and the transparencies (H) shown upright (while the text states that they should be inverted), the hollow mirror is too high in one movie and absent in the other, and the lens (I) is at the wrong side of the slide. All the same, experiments with a construction as illustrated in Kircher'southward book proved that information technology could work every bit a point calorie-free-source projection organization.^[31] The projected image in one of the illustrations shows a person in purgatory or hellfire and the other depicts Death with a scythe and an hourglass. According to fable Kircher secretly used the lantern at night to project the prototype of Death on windows of apostates to scare them back into church.^[32] Kircher did suggest in his volume that an audience would be more astonished by the sudden appearance of images if the lantern would be hidden in a separate room, so the audience would be ignorant of the cause of their appearance.^[30]

Educational employ and other subjects [edit]

Illustration of a lantern slide depicting Bacchus in Sturm's Collegium experimentale sive curiosum (1677)

The primeval reports and illustrations of lantern projections suggest that they were all intended to scare the audience. Pierre Petit called the apparatus "lanterne de peur" (lantern of fear) in his 1664 alphabetic character to Huygens.^[24] Surviving lantern plates and descriptions from the next decades prove that the new medium was not only used for horror shows, simply that many kinds of subjects were projected. Griendel didn't mention scary pictures when he described the magic lantern to Gottfried Wilhelm Leibniz in December 1671: "An optical lantern which presents everything that 1 desires, figures, paintings, portraits, faces, hunts, even an entire comedy with all its lively colours."^[33] In 1675, Leibniz saw an important role for the magic lantern in his plan for a kind of world exhibition with projections of "attempts at flying, artistic meteors, optical effects, representations of the heaven with the star and comets, and a model of the globe (...), fireworks, water fountains, and ships in rare forms; then mandrakes and other rare plants and exotic animals." In 1685–1686, Johannes Zahn was an early on advocate for use of the device for educational purposes: detailed anatomical illustrations were hard to describe on a chalkboard, but could easily be copied onto drinking glass or mica.^[9]

1737 etching/engraving of an organ grinder with a magic lantern on her back by Anne Claude de Caylus (after Edme Bouchardon)

Past the 1730s the use of magic lanterns started to become more widespread when travelling showmen, conjurers and storytellers added them to their repertoire. The travelling lanternists were frequently called Savoyards (they supposedly came from the Savoy region in France) and became a common sight in many European cities.^[9]

In France in the 1770s François Dominique Séraphin used magic lanterns to perform his "Ombres Chinoises" (Chinese shadows), a form of shadow play.^{[ citation needed ]}

Magic lanterns had besides become a staple of science lecturing and museum events since Scottish lecturer Henry Moyes's tour of America in 1785–86, when he recommended that all college laboratories procure ane. French writer and educator Stéphanie Félicité, comtesse de Genlis popularized the utilise of magic lanterns as an educational tool in the late 1700s when using projected images of plants to teach botany. Her educational methods were published in America in English language translation during the early 1820s.^[34] A type of lantern was synthetic by Moses Holden between 1814 and 1815 for illustrating his astronomical lectures.^[35]

Mass slide product [edit]

In 1821, Philip Carpenter'south London company, which became Carpenter and Westley after his death, started manufacturing a sturdy but lightweight and transportable "Phantasmagoria lantern" with an Argand way lamp. Information technology produced high quality projections and was suitable for classrooms. Carpenter also developed a "secret" copper plate printing/burning process to mass-produce glass lantern slides with printed outlines, which were so easily and quickly hand painted ready for sale.^[36] These "copper-plate sliders" independent 3 or 4 very detailed 4" circular images mounted in sparse hardwood frames. The first known set The Elements of Zoology became available in 1823, with over 200 images in 56 frames of zoological figures, classified according to the organization of the Swedish scientist Carl Linnaeus. The same year many other slides appeared in the company'due south catalogue: "The Kings and Queens of England" (9 sliders taken from David Hume's History of England), "Astronomical Diagrams and Constellations" (9 sliders taken from Friedrich Wilhelm Herschel'southward textbooks), "Views and Buildings", Aboriginal and Modern Costume (62 sliders from various sources).^[37] Fifteen sliders of the category "Humorous" provided some entertainment, merely the focus on education was obvious and very successful.

Mass product of slides also fabricated the magic lantern affordable to the masses, opening a market for smaller lanterns with smaller glass sliders, which instead of wooden frames ordinarily had colorful strips of newspaper glued effectually their edges.

Waning popularity [edit]

The popularity of magic lanterns waned afterward the introduction of movies in the 1890s, but they remained a mutual medium until slide projectors became widespread during the 1950s.

Moving images [edit]

Mice bound into the mouth of a sleeping disguised homo on a popular mechanical slide from circa 1870.

The magic lantern was not simply a direct ancestor of the motion moving-picture show projector as a ways for visual storytelling, but it could itself be used to project moving images.

Some suggestion of movement could be achieved past alternating between pictures of different phases of a motion, but most magic lantern "animations" used two glass slides projected together - 1 with the stationary part of the film and the other with the office that could be gear up in motion by hand or past a simple mechanism.

Motion in blithe slides was mostly limited to either two phases of a motion or transformation, or a more gradual singular movement (e.yard. a railroad train passing through a landscape). These limitations made subjects with repetitive movements popular, similar the sails on a windmill turning around or children on a seesaw. Movements could be repeated over and over and could be performed at different speeds.

A common technique that is comparable to the effect of a panning photographic camera makes use of a long slide that is just pulled slowly through the lantern and usually shows a mural, sometimes with several phases of a story inside the continuous backdrop.

Movement of projected images was also possible by moving the magic lantern itself. This became a staple technique in phantasmagoria shows in the belatedly 18th century, often with the lantern sliding on rails or riding on modest wheels and subconscious from the view of the audience behind the projection screen.

History [edit]

In 1645, Kircher had already suggested projecting live insects and shadow puppets from the surface of the mirror in his Steganographic system to perform dramatic scenes.^[38]

Christiaan Huygens' 1659 sketches (see above) suggest he intended to animate the skeleton to have it accept off its caput and place it back on its neck. This tin can be seen equally an indication that the very kickoff magic lantern demonstrations may already have included projections of simple animations.^[39]

In 1668, Robert Hooke wrote virtually the effects of a type of magic lantern installation: "Spectators not well versed in optics, that should encounter the various apparitions and disappearances, the motions, changes and actions that may this way exist represented, would readily believe them to be supernatural and miraculous."^[xl]

In 1675, German polymath and philosopher Gottfried Wilhelm Leibniz proposed a kind of world exhibition that would show all types of new inventions and spectacles. In a handwritten document he supposed information technology should open and close with magic lantern shows, including subjects "which can exist dismembered, to correspond quite extraordinary and grotesque movements, which men would not be capable of making" (translated from French).^{[41] [42]}

Several reports of early on magic lantern screenings possibly described moving pictures, merely are not clear enough to conclude whether the viewers saw animated slides or motion depicted in still images.^[39]

In 1698, German engraver and publisher Johann Christoph Weigel described several lantern slides with mechanisms that fabricated drinking glass parts move over 1 fixed drinking glass slide, for instance past the means of a silk thread, or grooves in which the mobile function slides.^[43]

By 1709 a German language optician and drinking glass grinder named Themme (or Temme) made moving lantern slides, including a carriage with rotating wheels, a cupid with a spinning wheel, a shooting gun, and falling bombs. Wheels were cut from the drinking glass plate with a diamond and rotated by a thread that was spun effectually minor contumely wheels attached to the drinking glass wheels. A newspaper slip mask would be quickly pulled abroad to reveal the red fiery discharge and the bullet from a shooting gun. Zacharias Conrad von Uffenbach visited Themme's store and liked the effects, but was disappointed most the very simple mechanisms. Nonetheless he bought seven moving slides, as well every bit twelve slides with four pictures each, which he thought were delicately painted.^[44]

Several types of mechanical slides were described and illustrated in Dutch professor of mathematics, physics, philosophy, medicine, and astronomy Pieter van Musschenbroek's second edition (1739) of Beginsels Der Natuurkunde (see analogy beneath).^[45] Pieter was the brother of Jan van Musschenbroek, the maker of an outstanding magic lantern with splendid lenses and a diaphragm (run across illustration in a higher place).^[39]

In 1770, Edmé-Gilles Guyot described a method of using two slides for the delineation of a tempest at sea, with waves on one slide and ships and a few clouds on another. Lanternists could project the illusion of mild waves turning into a wild sea tossing the ships around by increasing the movement of the separate slides. Guyot also detailed how projection on fume could be used to create the illusion of ghosts hovering in the air, which would become a technique normally used in phantasmagoria.^[39]

An specially intricate multiple rackwork mechanism was developed to bear witness the movements of the planets (sometimes accompanied by revolving satellites) revolving around the sun. In 1795, 1 Chiliad. Dicas offered an early magic lantern system, the Lucernal or Portable Eidouranian, that showed the orbiting planets. From effectually the 1820s mechanical astronomical slides became quite common.^[46]

Various types of mechanical slides [edit]

Mechanical slides for a magic lantern as illustrated in Petrus van Musschenbroek's Beginsels Der Natuurkunde (second edition 1739)

A stereopticon magic lantern

Various types of mechanisms were commonly used to add movement to the projected paradigm:

• slipping slides: a movable glass plate with one or more figures (or any function of a picture for which movement was desired) was slipped over a stationary one, directly by mitt or with a small drawbar (encounter: Fig. vii on the analogy by Petrus van Musschenbroek: a tightrope walker sliding across the rope). A common example showed a animate being that could move the pupils in its optics, as if looking in all directions. A long piece of glass could bear witness a procession of figures, or a train with several wagons. Quite convincing illusions of moving waves on a sea or lake have also been achieved with this method.^[47]
• slipping slides with masking: black paint on portions of the moving plate would mask parts of the underlying epitome - with a black background - on the stationary glass. This made information technology possible to hide and so reveal the previous position of a part, for instance a limb, to suggest repetitious movement. The suggested movement would be rather jerky and usually operated apace. Masking in slides was also often used to create change rather than move (encounter: Fig. half-dozen on the analogy by Petrus van Musschenbroek: a man, his wig and his chapeau): for instance a person's head could be replaced with that of an fauna. More gradual and natural movement was besides possible; for instance to make a olfactory organ grow very long by slowly moving a masking glass.
• lever slides: the moving function was operated by a lever. These could prove a more natural move than slipping slides and were more often than not used for repetitive movements, for instance a woodcutter raising and lowering his axe, or a daughter on a swing.^[47] (see: Fig. 5 on the illustration by Petrus van Musschenbroek: a drinking man raising and lowering his glass + Fig. 8: a lady curtsying)
• pulley slides: a pulley rotates the moving part and could for instance be used to turn the sails on a windmill^[48] (see: fig. 4 on illustration by Van Musschenbroek)
• rack and pinion slides: turning the handle of a rackwork would rotate or lift the moving part and could for case exist used to turn the sails on a windmill or for having a hot air airship have off and descend. A more circuitous astronomical rackwork slide showed the planets and their satellites orbiting around the sun.^[47]
• fantoccini slides: jointed figures prepare in motion past levers, sparse rods, or cams and worm wheels. A pop version had a somersaulting monkey with arms attached to machinery that made it tumble with dangling anxiety. Named after the Italian word for animated puppets, like marionettes or jumping jacks. Two different British patents for slides with moving jointed figures were granted in 1891.^[49]
• a snow effect slide can add snow to another slide (preferably of a winter scene) by moving a flexible loop of material pierced with tiny holes in forepart of one of the lenses of a double or triple lantern.^[fifty]

Mechanical slides with abstract special furnishings include:

Slide with a fantoccini trapeze artist and a chromatrope border blueprint (circa 1880)

• the Chromatrope: a slide that produces dazzling colorful geometrical patterns past rotating 2 painted glass discs in contrary directions, originally with a double pulley machinery but later on commonly with a rackwork machinery.^{[47] [51]} It was peradventure invented around 1844 by English glass painter and showman Henry Langdon Childe^{[52] [53]} and soon added as a novelty to the program of the Royal Polytechnic Institution.^{[54] [55]}
• the Astrometeoroscope or Astrometroscope: a big slide that projected a lacework of dots forming constantly irresolute geometrical line patterns, compared with stars and meteors. Information technology was invented in or before 1858 by the Hungarian engineer Due south. Pilcher and used a very ingenious mechanism with two metal plates obliquely crossed with slits that moved to and fro in contrary directions. Except for when the only known instance was used in a performance, it was kept locked away at the Polytechnic so no one could detect the secret technique. When the Polytechnic auctioned the device, Picher somewhen paid an improvident cost for his own invention to continue is workings hush-hush.^{[56] [57]}
• the Eidotrope: counter-rotating discs of perforated metal or card (or wire gauze or lace), producing swirling Moiré patterns of bright white dots. Information technology was invented past English scientist Charles Wheatstone in 1866.^{[58] [59]}
• the Kaleidotrope: a slide with a unmarried perforated metal or paper-thin disc suspended on a spiral leap. The holes can be tinted with colored pieces of gelatin. When struck the disc'southward vibration and rotation sends the colored dots of light swirling effectually in all sorts of shapes and patterns. The device was demonstrated at the Royal Polytechnic Institution around 1870 and dubbed "Kaleidotrope" when commercial versions were marketed.^[60]
• the Cycloidotrope (circa 1865): a slide with an adjustable stylus bar for drawing geometric patterns on sooty glass when hand cranked during projection. The patterns are similar to that produced with a Spirograph.^[fifty]
• a Newton colour cycle slide that, when spinning fast enough, blends seven colours into a white circle^[50]

Dissolving views [edit]

Ad with film of a triple lantern / dissolving view apparatus (1886)

The issue of a gradual transition from one image to another, known equally a dissolve in mod filmmaking, became the footing of a popular type of magic lantern show in England in the 19th century. Typical dissolving views showed landscapes dissolving from twenty-four hour period to dark or from summer to winter. This was achieved by aligning the projection of two matching images and slowly diminishing the first image while introducing the second image.^[47] The subject and the effect of magic lantern dissolving views is similar to the pop Diorama theatre paintings that originated in Paris in 1822. 19th century magic lantern broadsides often used the terms dissolving view, dioramic view, or simply diorama interchangeably.^[61]

The effect was reportedly invented by phantasmagoria pioneer Paul de Philipsthal while in Ireland in 1803 or 1804. He thought of using two lanterns to brand the spirit of Samuel announced out of a mist in his representation of the Witch of Endor. While working out the desired effect, he got the idea of using the technique with landscapes. An 1812 newspaper about a London functioning indicates that De Philipsthal presented what was mayhap a relatively early incarnation of a dissolving views testify, describing it every bit "a serial of landscapes (in imitation of moonlight), which insensibly alter to various scenes producing a very magical effect."^{[62] [63]}

Some other possible inventor is Henry Langdon Childe, who purportedly one time worked for De Philipsthal.^[63] He is said to have invented the dissolving views in 1807, and to accept improved and completed the technique in 1818.^[64] The oldest known use of the term "dissolving views" occurs on playbills for Childe'due south shows at the Adelphi Theatre in London in 1837.^[61] Childe further popularized the dissolving views at the Regal Polytechnic Establishment in the early 1840s.^[62]

Despite afterwards reports about the early invention, and apart from De Philipsthal's 1812 performance, no reports of dissolving view shows before the 1820s are known. Some cases may involve confusion with the Diorama or similar media. In 1826, Scottish wizard and ventriloquist M. Henry introduced what he described as "cute dissolvent scenes," "imperceptibly changing views," "dissolvent views," and "Magic Views"—created "past Machinery invented past Yard. Henry." In 1827, Henry Langdon Childe presented "Breathtaking Views, showing the various furnishings of light and shade," with a series of subjects that became classics for the dissolving views. In Dec 1827, De Philipsthal returned with a show that included "various splendid views (...) transforming themselves imperceptibly (equally if information technology were by Magic) from one form into another."^{[61] [63]}

Biunial lanterns, with two projecting optical sets in one appliance, were produced to more easily project dissolving views. Possibly the get-go horizontal biunial lantern, dubbed the "Biscenascope" was made past the optician Mr. Clarke and presented at the Royal Adelaide Gallery in London on five December 1840.^[62] The earliest known analogy of a vertical biunial lantern, probably provided by Due east.G. Wood, appeared in the Horne & Thornthwaite catalogue in 1857.^[46] Later on triple lanterns enabled additional furnishings, for instance the effect of snow falling while a green landscape dissolves into a snowy wintertime version.

A mechanical device could be fitted on the magic lantern, which locked up a diaphragm on the beginning slide slowly whilst a diaphragm on a second slide opened simultaneously.^[63]

Philip Carpenter's copper-plate printing process, introduced in 1823, may have made it much easier to create indistinguishable slides with printed outlines that could then exist colored differently to create dissolving view slides.^[63] However, all early dissolving view slides seem to take been manus-painted.^[61]

Experiments [edit]

There have been many different experiments involving sorts of movement with the magic lantern. These include:

• galvanometer slide: a flattened coil with a magnetized needle moving from side to side when a bombardment is connected.
• project of moving frog legs, with the nerves and muscles of severed frog legs continued to electric wires.
• hour-glass projection: the projection of a flattened hourglass showed the sand flowing upwardly. Extreme magnification fabricated the issue extra impressive, with the grains of sand forming a wave-like blueprint.
• cohesion figure projection of liquids: unlike oils and fats create many kinds of moving patterns when manipulated between articulate drinking glass plates or a narrow glass box.

Several of these experiments were publicly demonstrated at the Royal Polytechnic Institution.^[65]

Choreutoscope and phenakistiscope-type systems [edit]

Versions of the magic lantern were used to project transparent variations of the phénakisticope. These were adapted with a mechanism that spins the disc and a shutter system. Duboscq produced some in the 1850s and Thomas Ross patented a version called "Wheel of life" in 1869 and 1870.^[66]

The Choreutoscope was invented around 1866 by the Greenwich engineer J. Beale and demonstrated at the Royal Polytechnic. It projected six pictures from a long slide and used a hand-cranked mechanism for intermittent movement of the slide and synchronized shutter action. The mechanism became a key to the evolution of the pic camera and projector. The Choreutoscope was used at the start professional person public demonstration of the Kinetoscope to explain its principles.^[67]

An "Optical Instrument" was patented in the U.S. in 1869 past O.B. Brown, using a phenakistiscope-like disc with a technique very close to the later cinematograph; with Maltese Cross move; a star-wheel and pin beingness used for intermittent motion, and a two-sector shutter.^[68]

Life in the lantern - Bio-Phantoscope [edit]

John Arthur Roebuck Rudge congenital a lantern for William Friese-Greene with a mechanism to project a sequence of seven photographic slides. Reports say information technology was fabricated in 1872, but also 1875 and (about likely) 1882. The surviving slides show a man removing his head with his easily and raising the loose head. The photographed body belonged to Rudge and Friese-Greene posed for the head. The slides probably provided the very first trick photography sequence projection. Friese-Greene's demonstrated the machine in his shop, until the law ordered him to remove information technology when information technology attracted as well large a crowd.^[69]

Phantasmagoria [edit]

Interpretation of Robertson'southward Fantasmagorie from F. Marion'south L'Optique (1867)

Phantasmagoria was a form of horror theater that used i or more magic lanterns to project frightening images, especially of ghosts. Showmen used rear projection, mobile or portable projectors and a multifariousness of furnishings to produce disarming necromantic experiences. It was very popular in Europe from the belatedly 18th century to well into the 19th century.

Information technology is idea that optical devices similar concave mirrors and the camera obscura have been used since artifact to fool spectators into believing they saw real gods and spirits,^[63] just it was the magician "physicist" Phylidor who created what must have been the offset true phantasmagoria show. He probably used mobile magic lanterns with the recently invented Argand lamp^[seventy] to create his successful Schröpferischen, und Cagliostoischen Geister-Erscheinungen (Schröpfer-esque and Cagiostro-esque Ghost Apparitions)^[71] in Vienna from 1790 to 1792. Phylidor stated that his show of perfected apparitions revealed how charlatans similar Johann Georg Schröpfer and Cagliostro had fooled their audiences. As "Paul Filidort" he presented his Phantasmagorie in Paris From December 1792 to July 1793,^{[72] [73]} probably using the term for the first time. Every bit "Paul de Philipsthal" he performed Phantasmagoria shows in Britain beginning in 1801 with peachy success.^{[ citation needed ]}

One of many showmen who were inspired past Phylidor, Etienne-Gaspard Robert became very famous with his own Fantasmagorie show in Paris from 1798 to 1803 (later performing throughout Europe and returning to Paris for a triumphant improvement in Paris in 1814). He patented a mobile "Fantascope" lantern in 1798.^[63]

Royal Polytechnic Institution shows [edit]

When it opened in 1838, The Purple Polytechnic Establishment in London became a very popular and influential venue with many kinds of magic lantern shows as an important part of its programme. At the master theatre, with 500 seats, lanternists would brand good utilize of a battery of six big lanterns running on tracked tables to project the finely detailed images of actress large slides on the 648 square feet screen. The magic lantern was used to illustrate lectures, concerts, pantomimes and other forms of theatre. Popular magic lantern presentations included Henry Langdon Childe's dissolving views, his chromatrope, phantasmagoria, and mechanical slides.^{[63] [74]}

Utushi-e [edit]

Utushi-e is a blazon of magic lantern testify that became pop in Nippon in the 19th century. The Dutch probably introduced the magic lantern in Japan before the 1760s. A new fashion for magic lantern shows was introduced by Kameya Toraku I, who first performed in 1803 in Edo. Mayhap the phantasmagoria shows (pop in the west at that moment) inspired the rear projection technique, moving images and ghost stories. Japanese showmen developed lightweight wooden projectors (furo) that were handheld then that several performers could make the projections of different colourful figures move around the screen at the same time.^[75] The Western techniques of mechanical slides were combined with traditional Japanese skills—especially from Karakuri puppets—to further animate the figures and for special effects.^[76]

Today [edit]

Some enthusiasts claim that the brilliant quality of color in lantern slides is unsurpassed past successive projection media. The magic lantern and lantern slides are still popular with collectors and tin be found in many museums. However, of the original lanterns from the start 150 years afterwards its invention merely 28 are known to still exist (as of 2009).^[22] Museums usually prefer not to use their slides for projections, just often provide video representations of the slides.^{[ commendation needed ]}

A collaborative enquiry project of several European universities called A Million Pictures started in June 2015 and lasted until May 2018. Information technology addresses the sustainable preservation of the massive, untapped heritage resource of the tens of thousands of lantern slides in the collections of libraries and museums across Europe.^[77]

Genuine public lantern shows are relatively rare. Several regular performers claim they are the only i of their kind in their part of the world. These include Pierre Albanese and drinking glass harmonica player Thomas Bloch live Magic Lantern/Phantasmagoria shows since 2008 in Europe^[78] and The American Magic-Lantern Theater.^[79] The Magic Lantern Society maintains a list of active lanternists, which contains more than xx performers in the U.M. and circa eight performers in other parts of the world (Europe, U.South., Canada, Commonwealth of australia and New Zealand).^[lxxx]

Dutch theatre group Lichtbende produces contemporary magical lite glasses and workshops with magic lanterns.^[81]

See also [edit]

• List of lantern slide collections
• Projector (disambiguation)
• Zoopraxiscope

References [edit]

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60. ^ The Magic Lantern - Vol. i. No. 2. October 1874.
61. ^ ^{a b c d} Huhtamo, Erkki. "Ghost Notes: Reading Mervyn Heard's Phantasmagoria. The Hush-hush Life of the Magic Lantern" (PDF). The Magic Lantern Gazette. xviii (4).
62. ^ ^{a b c} The Mirror of Literature, Amusement, And Teaching. 1842. p. 98.
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71. ^ Phylidor Schröpferischen, und Cagliostoischen Geister-Erscheinungen flyer 1790
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73. ^ Affiches, annonces et avis divers. 1793-07-23
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75. ^ "What is Utsushi-east?". www.f.waseda.jp.
76. ^ "Taneita(Slides)". www.f.waseda.jp.
77. ^ "A Million Pictures | Magic Lantern Slide Heritage". A Million Pictures.
78. ^ Thomas Bloch. "THOMAS BLOCH ** ONDES MARTENOT - GLASSHARMONICA - CRISTAL BASCHET --- performances, ensembles..." thomasbloch.net . Retrieved 28 August 2017.
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81. ^ "LICHTBENDE". logister.home.xs4all.nl.

External links [edit]

• magic-lantern.european union website with more than 8000 lantern slides online
• Movie theater and its Ancestors: The Magic of Motion Video interview with Tom Gunning
• A live Magic Lantern performance with accompaniment of crystal instruments is proposed hither – feat. Pierre Albanese and Thomas Bloch
• Alive Magic Lantern Shows The American Magic Lantern Theater
• Magic Lantern – A School of Cinema Film Establish Chennai
• University of Tasmania Library Lantern Slide Collection
• LUCERNA - The Magic Lantern Spider web Resources
• The Magic Lantern Society An introduction to lantern history featuring images of lanterns, slides, and lantern accessories
• Joseph Boggs Beale collection of magic lantern illustrations, Margaret Herrick Library, Academy of Motion Flick Arts and Sciences
• Images of Lantern Slides from the National Museum of Australia
• The Magic Lantern Society, Uk
• The Lantern Slide Collection at the New-York Historical Social club
• QUT Digital Collections - Historical images of Nippon
• Lantern Slide Collection at Cleveland Public Library's Digital Gallery. The lantern slides are part of the library'southward W. Ward Marsh Collection.

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