Living pictures; their history, photoproduction and practical workingWith a digest of British patents and annotated bibliography . Fig. 23. 28 LIVING Fig. 24. immovable image and the eye. Here, then, there is nointerruption of the hght, and the brilHancy of the imageis so much the greater, while itsstationary position obviates thatdistortion which forms so great adisadvantage in slotted suggested an adaptationfor stereoscopic purposes (Fig. 24),but this does not seem to have beencarried out. Several ingenious additions to thisinstrument were, however, subse-quently
Living pictures; their history, photoproduction and practical workingWith a digest of British patents and annotated bibliography . Fig. 23. 28 LIVING Fig. 24. immovable image and the eye. Here, then, there is nointerruption of the hght, and the brilHancy of the imageis so much the greater, while itsstationary position obviates thatdistortion which forms so great adisadvantage in slotted suggested an adaptationfor stereoscopic purposes (Fig. 24),but this does not seem to have beencarried out. Several ingenious additions to thisinstrument were, however, subse-quently made by the same inventor. One, shown in , and called the Praxinoscope Theatre^ was designedto show a moving figure on a stage. The praxinoscopewas screwed into positionin the bottom portion of abox, through the lid ofwhich (standing at rightangles) an inspection open-ing was provided. Betweenthis opening and the praxino-scope a sheet of glass, bear-ing a painted proscenium,was held at a slight angle,the opening of the stage being left clear. On theinterior of the lid changeable pictures of scenery couldbe placed, and were seen reflected in the gla
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Keywords: ., bookcentury1800, bookdecade1890, booki, booksubjectmotionpictures
