KALCKREUTH, LEOPOLD, COUNT VON (1855- ), German painter, a direct descendant of the famous field-marshal (see above), was born at Dusseldorf, received his first training at Weimar from his father, the landscape painter Count Stanislaus von Kalckreuth (1820-1894), and subsequently studied at the academies of Weimar and Munich. Although he painted some portraits remarkable for their power of expression, he devoted himself principally to depicting with relentless realism the monotonous life of the fishing folk on the sea-coast, and of the peasants in the fields. His palette is joyless, and almost melancholy, and in his technique he is strongly influenced by the impressionists. He was one of the founders of the secessionist movement. From 1885 to 1890 Count von Kalckreuth was professor at the Weimar art school. In 1890 he resigned his professorship and retired to his estate of Hockricht in Silesia, where he occupied himself in painting subjects drawn from the life of the country-folk. In 1895 he became a professor at the art school at Karlsruhe. The Munich Pinakothek has his "Rainbow" and the Dresden Gallery his "Old Age." Among his chief works are the "Funeral at Dachau," "Homewards," "Wedding Procession in the Carpathian Mountains," "The Gleaners," "Old Age," "Before the Fish Auction," "Summer," and "Going to School." See A. Ph. W. v. Kalckreuth, _Gesch. der Herren, Freiherren und Grafen von Kalckreuth_ (Potsdam, 1904). KALEIDOSCOPE (from Gr. [Greek: kalos], beautiful, [Greek: eidos], form, and [Greek: skopein], to view). The article REFLECTION explains the symmetrical arrangement of images formed by two mirrors inclined at an angle which is a sub-multiple of four right angles. This is the principle of the kaleidoscope, an optical toy which received its present form at the hands of Sir David Brewster about the year 1815, and which at once became exceedingly popular owing to the beauty and variety of the images and the sudden and unexpected changes from one graceful form to another. A hundred years earlier R. Bradley had employed a similar arrangement which seems to have passed into oblivion (_New Improvements of Planting and Gardening_, 1710). The instrument has been extensively used by designers. In its simplest form it consists of a tube about twelve inches long containing two glass plates, extending along its whole length and inclined at an angle of 60 deg. The eye-end of the tube is closed by a metal plate having a small hole at its centre near the intersection of the glass plates. The other end is closed by a plate of muffed glass at the distance of distinct vision, and parallel to this is fixed a plate of clear glass. In the intervening space (the _object-box_) are contained a number of fragments of brilliantly coloured glass, and as the tube is turned round its axis these fragments alter their positions and give rise to the various patterns. A third reflecting plate is sometimes employed, the cross-section of the three