The kaleidoscope : $b its history, theory and construction. With its application to the fine and useful artsBrewster, David
Science
The kaleidoscope : $b its history, theory and construction. With its application to the fine and useful arts
Brewster, David
Kaleidoscopes
“But that Fig. 56 may yet be more intelligible and useful, I have drawn
on every side of it a scale, divided into equal parts, by which means
we may ascertain the just proportion of any design we shall meet within
it.
“I have also marked every side of it with a letter, as =A=, =B=, =C=,
=D=, the better to inform my reader of the use of the invention, and
put him in the way to find out every design contained in that figure.
“Example I.—Turn the side =A= to any certain point, either to the
north, or to the window of your room; and when you have opened your
glasses to an exact square, set one of them on the line of the side
=D=, and the other on the line of the side =C=, you will then have a
square figure four times as big as the engraved design in the plate:
but if that representation should not be agreeable, move the glasses
(still open to a square) to the number 5 of the side =D=, so will one
of them be parallel to =D=, and the other stand upon the line of the
side =C=, your first design will then be varied; and so by moving your
glasses, in like manner, from point to point, the draughts will differ
by every variation of the glasses, till you have discovered at least
fifty plans, differing from one another.
“Example II.—Turn the side marked =B=, of Fig. 56, to the same point
where =A= was before, and by moving your glasses as you did in the
former example, you will discover as great a variety of designs as
had been observed in the foregoing experiment; then turn the side
=C= to the place of =B=, and, managing the glasses in the manner I
have directed in the first example, you may have a great variety of
different plans, which were not in the former trials; and the fourth
side, =D=, must be managed in the same manner with the others; so that
from one plan alone, not exceeding the bigness of a man’s hand, we
may vary the figure at least two hundred times; and so, consequently,
from _five_ figures of the like nature, we might show about a thousand
several sorts of garden-plats; and if it should happen that the reader
has any number of plans for parterres or wilderness-works by him, he
may, by this method, alter them at his pleasure, and produce such
innumerable varieties, that it is not possible the most able designer
could ever have contrived.”
In reading the preceding description, the following conclusions cannot
fail to be drawn by every person who understands it.
Public-domain text, read in full here on John Shaqi.
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