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
[14] See _Journal of the Royal Institution_, vol. v. p. 99.
After the architect has fixed upon the nature and character of his
ornaments, he must cut, upon the surface of a large stone, or place in
relief upon it, the elements of a variety of patterns. These elements
need not be exact representations of any object, or any portion of
it, though, in some cases, an approximation to this may be desirable.
When this stone is set in a vertical position, and so that the light
may fall obliquely upon its surface, for the purpose of giving light
and shade to the pattern, the Kaleidoscope should be placed exactly
opposite the stone, and at a distance from it corresponding to the
magnitude of the pattern which is wanted. The tube containing the
lens or lenses, being put on, or the inner tube being drawn out, if
the instrument consists of two complete tubes, it must be adjusted
to the distance of the stone, or till an image of the stone is formed
at the end of the reflectors. When this adjustment is perfect, the
Kaleidoscope must be directed to the carved part of the stone, out of
which it is proposed to form the pattern; and by slight changes in its
position, by turning it round its axis, and by varying the inclination
of the reflectors, an immense variety of the most beautiful designs
will be exhibited, in the finest relief, and as perfect as if they had
been carved out of the stone by the most skilful workman. The architect
has therefore only to select from the profusion of designs which are
thus presented to him; and when he has made his choice, he may either
copy it photographically, or with his eye, or by means of the Camera
Lucida; or he may trace upon the stone the projection of the angular
aperture of the instrument, in order that, in the execution of his
work, he may have constantly before his eyes the real element out of
which the picture is created. If, in the course of this selection, the
picture should become capable of improvement, either by giving it depth
in particular parts, or by altering the outline, this alteration can
be easily made, and its effect throughout the whole ornament will be
instantly seen.
Public-domain text, read in full here on John Shaqi.
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