1G6 8CIOPTICON MANUAL. 



CHANGING THE SCENE. 



The visual image of a pictorial representation, seen under 

 favorable conditions, scarcely differs from that produced by 

 the object itself. It is said that an artist once painted a 

 cherry tree so true to nature that the birds swooped down 

 for the cherries. " See," said he to his rival, " even the 

 birds unwittingly testify to my skill. Now draw that beau- 

 tiful curtain and exhibit thy production." " That beautiful 

 curtain is my picture," replied the rival. "I am fairly 

 entitled to the premium, for even a competing artist un- 

 wittingly testifies to my skill." 



The surpassing excellence of projected pictures consists 

 in their presenting, on a large scale, the appearance of 

 reality in a marvelous degree, and in their thus presenting, 

 with the least possible expense and trouble, the objects 

 worth seeing in all the known world, and the scenes worth 

 remembering ever since the world began. 



In practice we should avoid, as far as possible, all un- 

 natural appearances and movements inconsistent with this 

 pleasing and profitable realization. A serious drawback, 

 in an ordinaiy exhibition, is seeing the views shoved in and 

 out, especially if the movement is not smooth and steady. 

 Alas, for seeming reality, when the scenery that is spread 

 out before us in distant and stately grandeur suddenly con- 

 tracts into dancing shadows on a white sheet. Even dis- 

 solving views, by which the change is effected so charm- 

 ingly, present many incongruities not to be rationally 

 anticipated in the natural order of things. The Lime-light 

 Sciopticon, however, with its automatic cut-off, called the 

 winker, shows no commotion nor commingling, to weaken 

 the stereoscopic effect, nor any blank of appreciable dura- 

 tion, for suspense. It is more in consonance with nature, 

 and is less hurtful to the sight. It seems like closing the eyes 

 on one scene and instantly opening them on another. While 



