The Stereoscope: Its History, Theory, and Construction, with Its Application to the Fine and Useful Arts and to Education

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J. Murray, 1856 - Binocular vision - 235 pages
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Contents

I
5
II
38
III
47
IV
53
V
76
VI
90
VII
107
VIII
131
X
166
XI
183
XII
189
XIII
193
XIV
204
XV
211
XVI
216
XVII
231

IX
159

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Page 61 - Nothing but a method of preventing the unshaded parts of the delineation from being coloured by exposure to the day is wanting, to render the process as useful as it is elegant.
Page 9 - This great artist and ingenious philosopher observes, " that a painting, though conducted with the greatest art and finished to the last perfection, both with regard to its contours, its lights, its shadows and its colours, can never show a relievo equal to that of the natural objects, unless these be viewed at a distance and with a single eye. For," says he,
Page 60 - ... the adaptation of the eye to distinct vision at different distances are preserved. The alteration in the apparent magnitude of the binocular images, when these usual relations are disturbed, will be discussed in another paper of this series, with a variety of remarkable phenomena depending thereon. In all the experiments detailed in the present memoir I shall suppose these relations to remain undisturbed, and the optic axes to converge about six or eight inches before the eyes. If the pictures...
Page 60 - For the purposes of illustration I have employed only outline figures, for had either shading or colouring been introduced it might be supposed that the effect was wholly or in part due to these circumstances, whereas by leaving them out of consideration no room is left to doubt that the entire effect of relief is owing to the simultaneous perception of the two monocular projections, one on each retina.
Page 24 - ... object to another. All this is in some degree true ; but were it entirely so, no appearance of relief should present itself when the eyes remain intently fixed on one point of a binocular image in the stereoscope.
Page 10 - CD is so much the shorter, as the object C is smaller and nearer to the eyes. Thus the object C seen with both eyes becomes, as it were, transparent, according to the usual definition of a transparent thing ; namely, that which hides nothing beyond it. But this cannot happen when an object, whose breadth is bigger than that of the pupil, is viewed by a single eye. The truth of this observation is therefore evident, because a painted figure intercepts all the space behind its apparent place, so as...
Page 61 - ... that the entire effect of relief is owing to the simultaneous perception of the two monocular projections, one on each retina. But if it be required to obtain the most faithful resemblances of real objects, shadowing and colouring may properly be employed to heighten the effects. Careful attention would enable an artist to draw and paint the two component pictures, so as to present to the mind of the observer, in the resultant perception, perfect identity with the object represented. Flowers,...
Page 180 - In the transition forms of his offspring, which link infancy with manhood, the parent will discover the traces of his own mortality ; and in the successive phases which mark the sunset of life, the child, in its turn, will read the lesson that his pilgrimage too has a period which must close.
Page 60 - E E' to or from him until the two reflected images coincide at the intersection of the optic axes, and form an image of the same apparent magnitude as each of the component pictures. The pictures will indeed coincide when the sliding pannels are in a variety of different positions, and consequently when viewed under different inclinations of the optic axes ; but there is only one position in which the binocular image will be immediately seen single, of its proper magnitude, and without fatigue to...
Page 177 - ... of the social and physical world. If the sun shines, his rays throw their gilding upon the picture. If rain falls, the earth and the trees glisten with its reflections. If the wind blows, we see in the partially obliterated foliage the extent of its agitation. The objects of still life, too, give animation to the scene. The Streets display their stationary chariots, the esplanade its military array, and the market-place its colloquial groups ; — while the fields are studded with the various...

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