Philip Carpenter and the convergence of science and entertainment in the early-nineteenth century instrument trade
Philip Carpenter and the convergence of science and entertainment in the early-nineteenth century instrument trade
复制标题
菲利普·卡彭特和十九世纪初乐器贸易中科学与娱乐的融合
作者:
P. Roberts
This article will consider the alignment of scientific and media practice at the beginning of the nineteenth century. Over several decades after 1817 certain instrument makers began to specialise in the domestic entertainment market, transferring skills from optical instrument manufacture to the design of fashionable novelty devices. The instrument trade was expanding into a new middle-class market to exploit an increasing popular trade in optical novelties, exemplified by the 1817 Kaleidoscope craze and new interest among the middle classes for microscopes, telescopes, and magic lanterns. This paper will address this shift towards more popular uses of scientific instruments and optical toys. In particular it will address the involvement of the Birmingham and London optician Philip Carpenter in three popular media formats of the 1810s and 1820s — the 1817 patent Kaleidoscope, 1821 Improved Phantasmagoria Lantern and 1827 Microcosm. The Copper-Plate Sliders are made up of three or four transfer-printed and then hand-painted images on small glass disks, mounted in long wooden frames and secured with wire spring fixtures. These slides were the first to be printed from a single matrix (in this case a copper engraving). Carpenter’s copper-plate transfer process was based on the ceramic transfer process used by Sadler and Green from 1756 onwards (see Figure 23).