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The magic lantern and its management

Chapter 6: THE SCREEN OR SHEET.
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About This Book

A practical manual traces the instrument's history and optical principles and then gives step-by-step guidance for producing lime-light and preparing oxygen gas safely. It explains photographic and hand-made slide preparation, colouring and mounting techniques, and methods for dissolving views and double‑lantern effects. Additional sections describe projecting opaque and microscopic subjects, creating mechanical moving pictures, arranging screens for domestic and public exhibitions, and constructing and maintaining lamps, retorts, and other apparatus, with practical advice on ventilation, safety, and signals between lecturer and operator.

THE SCREEN OR SHEET.

And now a word about the best form of screen or sheet for showing lantern pictures upon. The best possible form of surface is a smooth whitewashed wall; but as this is not commonly found among the appointments of a sitting-room, where the lantern will be wanted, we must find some substitute which will most nearly resemble it. A sheet of cartoon paper, which can be bought of any length, and measuring more than four feet across, will do well if only a small disc is desired. The paper can be rolled up out of the way at a minute’s notice. If a larger screen is wanted, it can be made of stout calico, faced with white paper, and can be made to roll up and down like a school map of large dimensions. A map-mounter, or even an upholsterer, would soon rig up such an arrangement.

There is a very effective way of showing small pictures and diagrams with an oil-lantern, which I have more than once adopted, where a room has been long in proportion to its breadth. This is to make a wooden frame just large enough to take the full width of a sheet of tracing-paper, and to put this screen between the lantern and the spectators. Tracing-cloth should be avoided, as it is so transparent that the light streaming from the lens makes a blotch in each picture when seen through it.

If the lantern is brought into regular use—in a schoolroom, for instance—it might be thought worth while to have a canvas sheet whitewashed, and hung in the same manner that a stage drop-scene is fixed. In making such a screen, the canvas should be tacked on a frame, and should have a coating of thin glue, which should be allowed to dry before two or more coats of whitewash are applied. It will be understood that a really opaque screen, such as this represents, is the more effective, because the light, instead of being partly lost—as it must be in penetrating an ordinary calico sheet—is reflected and utilized.

But for public exhibitions on a large scale, the calico sheet is the screen commonly in vogue, for it is conveniently put up and taken down, and can be rolled into a bundle for easy transport. A sheet properly hung should be as flat as a board and perfectly free from wrinkles of any kind, and this can be accomplished without much difficulty by adopting the following method, which is applicable to screens from twelve feet square upwards.

Fig. 5.

Showing method of hanging a sheet.

The sheet should have at its top edge a strong cord sewn into its hem, which cord should terminate at each side with a loop. On its sides and bottom edges, the sheet should have brass curtain rings sewn on to it at intervals of two feet. Having chosen the position of the screen, a couple of screw-eyes are screwed into the roof, or cornice near the top of the hall, at such a distance apart that the sheet can easily go between them. Through each of these screw-eyes is passed a thin, strong line, having at its end a clip like that commonly attached to a dog’s chain. This clip is to clutch the loop of rope on each side of the sheet. The sheet can now be pulled up into position: the free ends of the cord being fastened to screw-eyes in the floor. It now merely remains to lace with string the curtain rings on the side of the sheet to the adjacent cord, and the arrangement is complete. The annexed diagram shows the upper corner of such a sheet, with its attachments, as just explained. Where the hall is of such a height that this plan is not available, or where the stern custodians faint with horror at the thought of their walls or ceilings being pierced with a screw-hole, the same method can be carried out by fastening the screw-eye to a timber upright on each side, supported by light struts.

Some persons prefer a sheet stretched on a frame, and such a frame of a very portable character can be easily devised. The frame itself is best made of lengths of pine, about the size of broom-handles. These can be joined together so as to make a frame of any reasonable dimensions, by six-inch lengths of brass tubing. The same tubing, mitred into L-pieces, will serve for the four corners. The sheet is furnished with tapes to secure it to the frame, and the woodwork is kept in an upright position by strong cords fastened by screw-eyes to the floor. The appearance of such a screen is much enhanced if the plain woodwork be hidden by a little drapery in the shape of narrow curtains at each side, and festoons of the same material above.