The magical lanterns blemish blemish Once upon a time in a small village deep within a dense forest, there lived a group of people who possessed magical lanterns. These lanterns were said to have the power to grant wishes and bring joy to anyone who used them. The villagers treasured these lanterns and it became a tradition to use them during special occasions and festivals. The magical lanterns were exquisitely crafted with intricate patterns and vibrant colors. They emitted a beautiful glow when lit, filling the air with a sense of wonder and enchantment. The villagers believed that these lanterns held the key to their dreams and desires.
The lantern used by Spackman was one of a range of optical tools available on the market. Enlarging lanterns had an apparatus that required light to be registered in the correct position on the condenser, a strong negative holder, and the lens to be centred so that it would take up all the rays. Others could be mounted upon wheels in order to alter the distance from the projection screen. Depending on how far away it was, the projected picture could expand to a gigantic size or contract into a luminous spot.
Central to the visual culture of the period, magic lanterns also reflect the close connections between science, technology and the production of images at the time. At the same time, photography contributed to expand the range of subjects of the slides, and thanks to the growing demand for images, a new market for lantern slides emerged.
The villagers believed that these lanterns held the key to their dreams and desires. However, there was a blemish in the magical lanterns. It was said that if someone used the lanterns for selfish purposes or with ill intentions, the lanterns would lose their magic.
From the Royal Albert Hall to the Victorian Home: The Many Uses of the Magic Lantern
This is one of a series of blog posts by students of the V&A/RCA History of Design MA programme, written to accompany the ‘Building the Royal Albert Hall’ display at the V&A in Room 127 (the entrance to the Architecture Gallery) until 7 January 2018.
Following on from the frieze around the 244 metre circumference of the Royal Albert Hall and the role of Sergeant Benjamin L. Spackman, the Royal Engineer working at the South Kensington Museum, this post by Guglielmo Rossi explores the role played by magic lanterns as essential instruments in the process of designing and executing the frieze. Central to the visual culture of the period, magic lanterns also reflect the close connections between science, technology and the production of images at the time.
Photograph of the exterior view of the South Kensington Museum (the ‘Brompton Boilers’) under construction with Sergeant Benjamin L. Spackman in the foreground, 1856 (V&A 34967)
In the mid-nineteenth-century various different lamps were produced to copy, reproduce, and enlarge images and drawings. Spackman employed the lantern as an enlarger: he photographed the preparatory drawings for the frieze, then projected them on paper so that they could be re-drawn to the correct scale in order to produce the tiles for the mosaic. Each enlarged artwork took nine sheets of paper. The full design was made of sixteen original drawings and each drawing was enlarged to be about 15 metres long.
The lantern used by Spackman was one of a range of optical tools available on the market. Enlarging lanterns had an apparatus that required light to be registered in the correct position on the condenser, a strong negative holder, and the lens to be centred so that it would take up all the rays. Others could be mounted upon wheels in order to alter the distance from the projection screen. Depending on how far away it was, the projected picture could expand to a gigantic size or contract into a luminous spot.
Different types of lanterns. Double lanterns (centre) made it possible to animate the fading of images, showing the first image disappearing as it was replaced by the following one. Triple lanterns (right) offered a spare model in case of technical problems.
Image sourced from T. C. Hepworth ‘The Book of the Lantern. Being a Practical Guide to the Working of the Optical (or Magic) Lantern’ (1888).
In addition to its use as a technical tool, the magic lantern was also employed as an image projector for instruction or leisure, in public and private. Although it was originally invented in the seventeenth century (commonly described as the latest form of the camera obscura), it evolved alongside new technologies for the production of light and remained extremely popular until the turn of the twentieth century, when it slowly disappeared with the rise of cinema.
Its development is also associated with the different individuals who used and perfected it over time. The Belgian Jesuit priest, Athanasius Kircher, mentions the tool in his treatise ‘Ars Magna Lucis et Umbrae’ (1646), and experiments were carried out even earlier by the Dutch mathematician Christiaan Huygens, Cornelis Drebbel, and by Giambattista della Porta in Italy between the sixteenth and seventeenth centuries. New forms of the lantern followed, marking new accomplishments. In 1826 the book entitled ‘The art of Projection and complete Magic Lantern Manual’ chronicled the use of a oxyhydrogen blowpipe with the addition of a ball of lime used for signalling up to a distance of 160 kilometres.
The invention and dissemination of photography marked another turning point in the history of magic lanterns, contributing to their popularity during Victorian times. The glass slides (or lantern transparencies) were printed from photographic negatives and were able to retain a sufficiently high level of detail to enable scientific rigour. At the same time, photography contributed to expand the range of subjects of the slides, and thanks to the growing demand for images, a new market for lantern slides emerged.
T. C. Hepworth ‘The Book of the Lantern. Being a Practical Guide to the Working of the Optical (or Magic) Lantern’ (1888), the technical manual contains a section of advertisements promoting the sale and hire of lanterns, lenses and slides. The image on the right lists special lenses for ‘architecture and copying’; the image on the left lists common subjects available for slides. Slides for lectures and conferences were frequently hired and often accompanied by small explanatory booklets.
During the nineteenth century, still employed as a tool for entertainment in theatres and providing a visual complement to performances, the magic lantern was also adopted for educational purposes, to engage audiences during lectures at the London Polytechnic. Together with universities, lantern shows took place in churches and halls, and the variety of venues suggests that diverse audiences, of very different ages and social backgrounds, enjoyed the projections of illuminated pictures. Ultimately, towards the end of the century, the magic lantern was used as an advertising tool on the streets of city centres, projecting adverts for shops and products on building walls. In a domestic setting it was often found in the sitting rooms of the affluent to be used for home entertainment and toy versions were produced in great numbers for the children. Various examples can be found in the collections of the V&A Museum of Childhood.
Top: Two views of a magic lantern with slides, ca. 1904, Museum number: MISC.80&1-13-1985
Bottom left: Optical toy manufactured by Carette in Germany, made of pressed metal, brass and glass, 1905–13. Museum number: MISC.67-1978
Bottom right: Optical toy manufactured by Ernst Planck in Germany, made of pressed steel, with celluloid film and glass slides. ca. 1900. Museum number: MISC.65 to C-1966 The Monarch Ethopticon Bi-Unial Magic Lantern, made in Bradford, England, by Riley Brothers in the 1880s. The Kodak Collection at the National Media Museum, Bradford.
Science Museum Group Collection (object number 1990-5036/7885)
Steve Humphries, Victorian Britain Through the Magic Lantern (London: Sidwick & Jackson, 1989)
Gian Piero Brunetta, Il viaggio dell’icononauta: dalla camera oscura di Leonardo alla luce dei Limiere (Venezia: Marsilio Editore, 1997)
T. C. Hepworth, F.C.S., The book of the lantern being a practical guide to the working of the optical (or magic) lantern (London, Wyman & Sons, 1888)
Paolo Bertetto, Donata Pesenti Campagnoni, La magia dell’immagine: macchine e spettacoli prima dei Lumière nelle collezioni del Museo nazionale del cinema (Milano: Electa, 1997)
The Art of Projection and complete Magic Lantern Manual by An Expert (London: E. A. Beckett, 1893)
The once dazzling glow would turn dim, and all wishes asked upon it would go unanswered. One day, a young boy named Liam stumbled upon the magical lanterns in an abandoned cottage. Intrigued by their beauty, he decided to take one of the lanterns home with him. As he held it in his hands, he felt a surge of excitement and hope. He had always dreamed of adventure and riches, and he believed that the lantern could make his dreams come true. Liam began to use the lantern, wishing for wealth, fame, and power. But as time went on, he noticed that the lantern's glow started to fade. His wishes remained unfulfilled, and Liam became more frustrated and desperate. He could not understand why the lantern had stopped working its magic. One day, an elder in the village noticed Liam's despair and approached him. The elder explained the blemish in the lanterns and how using them for selfish purposes would cause them to lose their magic. Liam felt a pang of guilt and regret. He realized that his desires had clouded his judgment and led him astray. Determined to make amends, Liam decided to use the lantern for selfless purposes. He wished for the well-being and happiness of his family, friends, and the entire village. As he made these selfless wishes, he saw the lantern's glow gradually return, shining brighter than ever before. Liam had learned a valuable lesson about the power of selflessness and the importance of using the magical lanterns with pure intentions. From that day forward, he became known as the village hero, helping others and spreading joy wherever he went. The story of Liam and the magical lanterns serves as a reminder that true magic lies within us, and it is through selflessness and compassion that we can make a real difference in the world. The blemish in the lanterns symbolizes the consequences of selfishness and greed, while the restored glow represents the transformative power of selfless acts. May we all strive to use our own inner lanterns for the betterment of others and create a world filled with magic, love, and happiness. For it is in selflessness that true magic resides..
Reviews for "Exploring the Hidden World within Magical Lanterns"
1. John - 1 star - I was really disappointed by "The Magical Lanterns Blemish Blemish". The storyline was confusing and hard to follow, and the characters were poorly developed. I found myself bored and uninterested throughout the entire film. The special effects were also underwhelming and did nothing to enhance the overall experience. I wouldn't recommend wasting your time on this movie.
2. Sarah - 2 stars - "The Magical Lanterns Blemish Blemish" had so much potential, but unfortunately it fell flat for me. The acting was mediocre and the dialogue felt forced. The pacing was too slow and there were several unnecessary scenes that did nothing to advance the plot. I expected more from such a highly anticipated film, but it just didn't deliver. I would suggest saving your money and watching something else instead.
3. Emily - 2 stars - I had high hopes for "The Magical Lanterns Blemish Blemish" but it didn't live up to my expectations. The story was predictable and lacked originality. The lead actor's performance was lackluster and I couldn't connect with any of the characters. The visual effects were decent, but they couldn't salvage the overall disappointment I felt while watching this film. I wouldn't recommend it, as there are much better fantasy movies out there.
4. Michael - 1 star - "The Magical Lanterns Blemish Blemish" was a complete waste of my time and money. The plot was convoluted and made no sense, with random subplots that went nowhere. The acting was wooden and unconvincing, and the dialogue was cringe-worthy. The film tried too hard to be magical and enchanting, but it ended up being cheesy and overdone. Save yourself the trouble and skip this one.