It had never been proposed to apply the reflecting stereoscope to portraiture or sculpture, or, indeed, to any useful purpose; but it was very obvious, after the discovery of the Daguerreotype and Talbotype, that binocular drawings could be taken with such accuracy as to exhibit in the stereoscope excellent representations in relief, both of living persons, buildings, landscape scenery, and every variety of sculpture. In order to shew its application to the most interesting of these purposes, Dr. Adamson of St. Andrews, at my request, executed two binocular portraits of himself, which were generally circulated and greatly admired. This successful application of the principle to portraiture was communicated to the public, and recommended as an art of great domestic interest. After endeavouring in vain to induce opticians, both in London and Birmingham, (where the instrument was exhibited in 1849 to the British Association,) to construct the lenticular stereoscope, and photographers to execute binocular pictures for it, I took with me to Paris, in 1850, a very fine instrument, made by Mr. Loudon in Dundee, with the binocular drawings and portraits already mentioned. I shewed the instrument to the Abbé Moigno, the distinguished author of _L’Optique Moderne_, to M. Soleil and his son-in-law, M. Duboscq, the eminent Parisian opticians, and to some members of the Institute of France. These gentlemen saw at once the value of the instrument, not merely as one of amusement, but as an important auxiliary in the arts of portraiture and sculpture. M. Duboscq immediately began to make the lenticular stereoscope for sale, and executed a series of the most beautiful binocular Daguerreotypes of living individuals, statues, bouquets of flowers, and objects of natural history, which thousands of individuals flocked to examine and admire. In an interesting article in _La Presse_,[23] the Abbé Moigno gave the following account of the introduction of the instrument into Paris:— [23] December 28, 1550. “In his last visit to Paris, Sir David Brewster intrusted the models of his stereoscope to M. Jules Duboscq, son-in-law and successor of M. Soleil, and whose intelligence, activity, and affability will extend the reputation of the distinguished artists of the Rue de l’Odeon, 35. M. Jules Duboscq has set himself to work with indefatigable ardour. Without requiring to have recourse to the binocular camera, he has, with the ordinary Daguerreotype apparatus, procured a great number of dissimilar pictures of statues, bas-reliefs, and portraits of celebrated individuals, &c. His stereoscopes are constructed with more elegance, and even with more perfection, than the original English (Scotch) instruments, and while he is shewing their wonderful effects to natural philosophers and amateurs who have flocked to him in crowds, there is a spontaneous and unanimous cry of admiration.”