Bull Runn, forgotten comic strip

Printing plate, horizontally reversed, for Bull Runn by Carl Ed. “He is Determined to Cut This Date So Just See What He Does In Order to Put it Over On The Wife!” In this five cell strip, Bull’s wife insists that they go together to visit Gertie’s husband, Bob Robb, the auto salesman. Bull breaks a jewelry store window and gets taken to jail to get out of it. Then, when his wife is not looking, he reimburses the store owner.


Cartoonist Carl Ed’s obituary ran in The New York Times on October 11, 1959: “Carl Frank Ludwig Ed, creator of the Harold Teen comic strip, died today a short time after he had been admitted to Evanston (Ill) hospital. He was 69 years old. Mr. Ed, who pronounced his name to rhyme with Swede and was often called Swede as a nickname, had been in ill health …”

“In 1910 he became a sports writer for the Rock Island Argus and seven years later he took his first job as a cartoonist in The Chicago American sports department. The next year Mr. Ed began a seven-year tenure with the World color syndicate of St. Louis, drawing the well-known strip Luke McGluke, the Bush League Bearcat, and later Big Ben. By 1918 his talents came to the attention of the late Joseph Medill Patterson, co-publisher of The Chicago Tribune, who hired him.”

Nowhere, in the Times or other sources, is the comic strip called Bull Runn mentioned although it must have circulated to dozens of papers. The Graphic Arts Collection holds 100 lead and zinc printing plates for the strip, given by Charles Rose, Class of 1950, P77, P80. The plates originated with Abraham Meyers, whose American Melody Company or Meyers List syndicated cartoons and features to American newspapers from 1898 to 1977.


In 1926, Popular Mechanics ran a story detailing the process in which comic strips, such as Bull Runn, were printed in American newspapers.

“The story of the distribution, or syndicating of the features which appear simultaneously in papers throughout the country is a story of big business organization. . . . From the artist, the strip or page goes to the engraving department, is photographed on a copper plate, engraved, and prepared for the mechanical department. The next step is to transfer the engraving to a paper mold in which type metal is poured to produce the printing plate.”

A machine carrying rolls of blotting paper and other rolls of a special tissue paper automatically cuts off sheets somewhat larger than a newspaper page, pastes them together . . . sends the completed ‘mat’ or matrix through rollers which press out the excess paste and bind the parts firmly together and finally delivers the completed sheet to the drier.”

“. . . the dampened matrix is placed over the engraved plate, rolled in until it fills every indentation then covered with moistened blankets and placed in a steam heated press to dry the impression in place. . . . The cartoonist delivers a full week’s supply of strips at one time, and all are reproduced on one matrix, which is then clipped apart for convenience in mailing.

“At the newspaper plant the process is reversed. The mat is placed in a casting box, surrounded by containing walls just type-high and molten type metal poured in. The casting boxes are water-cooled and the hot metal chills so quickly that the tissue surface of the mat is hardly browned. The casting after being sawed to the proper size, is placed in the page form and made up along with the newspaper type.”–“How Cartoons are Syndicated,” Popular Mechanics, 45, no. 3 (March 1926): 451-55.

Early American Bookplates

Bookplate of Ethan Allen Hitchcock (1798-1870), U.S. Army, “Non nisi parvulis [Not unless a child], 19th century. Etching and engraving, Graphic Arts Collection Early American Bookplates

 

A reference question led to our small but significant collection of early American bookplates. Here are a few both for institutions and individuals.

The Gift of the Society for propagating the Gospell in Foreign parts 1704

 

Presented to the Warren St Chapel

 

Hasty Pudding Library, 1808

 

John Skinner, Hartford, and S. Marble, Orange Street, New Haven

 

Brothers in Unity

 

Columbia College Library, New-York. “In Lumine Tuo Videbimus Lumen” [In thy light we shall see light, Psalms 36:9]

 

Samuel Parker

Bushrod Washington (1762–1829), “Exitus acta probat” [The outcome justifies the deed].

 

New-York Society Library, 1789. “Emollit Mores” [Learning humanizes or Learning softens character]

 

Phoenix Society

Newburyport Athenaeum

 

Alexander Hamilton, Through. Not Alexander Hamilton (1757-1804)

 For confirmation, see: Journal of the Ex Libris Society, Vol. 8 (1899). “BOOK-PLATE OF ALEXANDER HAMILTON. Dear Sir,—…Alexander Hamilton had a book-plate— plain armorial, spade shield and crest, with motto — of which one is now in my collection. The Library of the Hospital Ship “Bay State” [ocr errors] No only other copy known to me is inserted in Hamilton’s own copy of “The Federalist,” which is in the possession of a gentleman of New York City, who values this plate at much fine gold, as I happen to know, having made a bid of fifty through the friendly bookseller who mentioned it to me in a casual way, and which he did thrice refuse. It would not interest anyone to know how I finally procured my copy, and I am very unwilling to exploit a mare’s-nest; but I will say that, for the present, this is one of my most cherished plates, ranking next to that of Hamilton’s great friend and admirer, George Washington, and so will it be until some fortunate collector manages to pick up a lot of them in some out-of-the-way corner. I am aware that the authenticity of the ownership of this most important plate rests, for the moment, altogether on what credit one is inclined to place in the aforesaid bookseller, but there was no object to be gained by him in composing a fairy tale of this kind, as the plate he spoke of was in hands, so far as he knew, entirely out of a collector’s reach, and his chance of procuring it simply nil, as has been proved since. After such serious collectors and good authorities as my friends F. E. Marshall and C. E. Clark have had a look at it, there will be time enough to describe this plate; in the meantime, silence is golden.— Yours truly, W. E. Baillie.

Making history: collections, collectors, and the cultural role of printing museums

Association of European Printing Museums (AEPM) 2017

In case you haven’t already seen this call for papers, please consider proposing something for the upcoming AEPM conference. Princeton University Library is a member.  http://www.aepm.eu/conferences/

The conference will take place May 11-13, 2017 at The Museum of Typography, Chania, Crete (Greece) and the theme will be: Making history: collections, collectors and the cultural role of printing museums. It will look at the ways in which collections of printing heritage materials become museums. Possible subjects for discussion include:

Who collects printing heritage materials?
How is printing heritage transmitted from one generation to the next?
What motivates founders of printing museums?
How do collections become museums?
How are collections made available to the public?
What forms do independent printing museums take – associations, foundations, privately-owned companies?
What challenges do independent collections and printing museums have to face?

Proposals for talks are invited from museums of printing and graphic communication, and from heritage workshops, collectors, and scholars involved in printing heritage. Abstracts of no longer than 250 words should be submitted along with a brief biography to: chair@aepm.eu and info@typography-museum.gr by January 30, 2017. Speakers will be allocated 30 minutes (including discussion) in which to present their papers.

The conference will also offer an opportunity to discover some aspects of Greek printing heritage with the help of several invited speakers:

Yiannis Filis, former dean of the Technical University of Crete (Greece)

Gerry Leonidas, associate professor of typography at the Department of typography and graphic communication, vice-president of ATypI (United Kingdom)

Klimis Mastoridis, professor of typography & graphic communication, University of Nicosia, Cyprus

George D. Matthiopoulos, lecturer in the Department of graphic design at the School of art and design of the Technological Educational Institute of Athens (Greece)

Konstantinos Staikos, architect, book historian and researcher (Greece)

Exiles

 

Also uncovered during the renovation of the Princeton University Library was this small but important playbill from a French production of James Joyce’s Exiles, held at the Théâtre Gramont, Paris. The play in three acts was written in 1914 and published simultaneously in an English and an American edition on May 25, 1918. To read Edna O’Brien’s review of the National Theatre’s production in 2006, see: https://www.theguardian.com/stage/2006/jul/29/theatre.fiction

 

 

To mark the acquisition of the Leonard L. Milberg ’53 Collection of Irish Theater, the Princeton University Library mounted the exhibition, Players & Painted Stage: The Leonard L. Milberg Collection of Irish Theater, running October 2006 to April 2007. The show merged holdings from the library, newly acquired Milberg material, and other donations. View the exhibition website: http://milberg.princeton.edu/highlights

See also: James Joyce (1882-1941), Exiles; a play in three acts (New York: B. W. Huebsch, 1918). First American edition. Rare Books (Ex) 3807.38.333.1918a

 

 

See also the Abbey Theatre production at: http://www.rte.ie/bosco/components/player/iframe.html?clipid=3703810&thumbnail=000990e6&subheader=off

Ichikawa Danjuro IX (1838-1903) meets Adolfo Farsari (1841-1898)

Utagawa Yoshiiku 歌川 芳幾 (1833-1904), [Meeting between the Kabuki actor Danjuro IX and the Italian photographer Adolfo Farsari], [Tokyo: Nichinichi Shinbun, 1874]. Color woodblock print. Graphic Arts Collection GAX 2017- in process A vault

“Utagawa Yoshiiku was a Japanese printmaker and illustrator. As a printmaker, he designed a wide range of prints including those depicting bijin (beautiful women), musha (warriors), yakusha (actors), and the sensationalized pictures of blood-stained mayhem called chimidoro-e and muzan-e, among others. From 1874 to 1875 he designed nishiki-e shinbun for the Tokyo newspaper Nichinichi Shimbun, which he co-founded.”

“. . . The founders of Tōkyō nichinichi shinbun are: Johno Denpei (1832-1902, pseud. “Sansantei Arindo” as gesakusha: popular fiction writer), Nishida Densuke (1838-1910, former clerk of TSUJI Den’emon’s kashihon’ya: lending library), and Ochiai Ikujiro (1833-1904, pseud. “Utagawa Yoshiiku” as Ukiyoe print artist).” –See William Wetherall’s News Nishiki website; Amy Reigle Newland, The Hotei Encyclopedia of Japanese Woodblock Prints (Hotei Publishing Company, 2005), p. 505.

One of the prints Yoshiiku designed for his newspaper was this meeting of the renowned Kabuki actor, Ichikawa Danjuro IX (1838-1903) and the Italian-born photographer, Adolfo Farsari (1841-1898).

According to the Japanese text, in May 1872 an unidentified “yojin” (“ocean person”) visited Danjuro IX backstage and asked to photograph the actor in exchange for some European cigarettes.

The Westerner, not identified in the text, was almost certainly Adolfo Farsari, who took up residence in Japan in the early 1870s and became one of the most prominent photographers in the country.

 

To read the entire newspaper, see: Tōkyō nichinichi shinbun [microform] = 東京日日新聞 (Tōkyō: Nippōsha, 東京 : 日報社, Feb. 21, 1872- Dec. 31, 1942). East Asian Microfilms (HYGF): Forrestal Annex Microfilm J00057

For more on Farsari, read the catalog of an exhibition held at the Villa Contarini, Piazzola sul Brenta, Italy, Dec. 18, 2011-April 1, 2012: East Zone: Antonio Beato, Felice Beato e Adolfo Farsari : fotografi veneti attraverso l’Oriente dell’Ottocento / a cura di Magda Di Siena ; testi di Magda Di Siena, Rossella Menegazzo (Crocetta del Montello (Treviso): Antiga, 2011). Marquand Library use only DS508.2 .E27 2011

Avalon Ballroom

What do these pictures, above and below, have in common?

The postcards were found during the renovation of rare books and special collection’s technical services offices. Manufactured by Family Dog Productions, the corporation that managed The Avalon Ballroom in San Francisco, the cards advertise Avalon rock concerts presented from 1966 to 1969.

Our cards announce concerts by the Grateful Dead, Quicksilver Messenger Service, the Steve Miller Band, Moby Grape, the Butterfield Blues Band, and Big Brother and the Holding Company, with designs by Rick Griffin, Stanley Mouse, Alton Kelley and Victor Moscoso.

Like our offices, the Avalon’s building was renovated many times and since 1969, has housed a Regency movie theater, American Pacific Linens, Wantful.com (internet startup), and currently, the ad agency Argonaut.


Thanks to Maria Grandinette, Preservation Librarian, who found these cards and other ephemera.

The Language of the Lament

Lynne Avadenka. Lamentations = Ekhah. Lamentations = איכה (Huntington Woods, Mich.: Land Marks Press, 2009). Copy 8 of 8. “This edition of Lamentations was created with woodcuts, photopolymer plate printing and stencils, and letterpress printed with Centaur and Koren types on Yamada Hanga cream paper”–Colophon. Housed in a cloth-covered oblong clamshell box, which has a woodblock inset on its top. Text of the book of Lamentations in Hebrew, with English translation from the Jewish Publication Society: leaves [3-12]. Graphic Arts Collection GAX in process


Additional digital images available at: http://www.lynneavadenka.com/gallery.html

Colophon [above]: “Echoes, reverberations, multiplicities, repeats: the long narrow sheet – a scroll unrolled – like the original Book of Lamentations; prints from wood, the same material from which houses are built, with traces of home cut out: doors, windows, openings; orbits linked and overlapped, inked and overprinted, suggesting absence, presence, and interconnected lives.”

 

 

Many other versions of the Lamentations are available in the Princeton University Library, including: Sefer Ḳol bikhyi: reʼu zeh ḥadash ḳetsat ḥidushim ʻal sefer Iyov… ṿe-ʻimo nilṿeh sefer Metsudat Daṿid le-vaʼer ʻinyana . . . / Raḥamim Bukhrits (Liṿorno: Sh. Belforṭe, 657 [1897]). Rare Books (Ex) BS1415 .K642 1897

We also hold a number of artists’ books featuring Jewish themes. Here are only a few:
Sue Coe, X (with Art Spiegelman). Design by Françoise Mouly (New York: Raw Books & Graphics, 1986). Rare Books (Ex) N6797.C55 A4 1986 Milberg
Mark H. Podwal, A Sweet Year: a Taste of the Jewish Holidays (New York: Random House Children’s Books, 2003). Graphic Arts Collection (GAX) 2004-2542N
Carol Rosen, The Holocaust Series. XXI, We All Disappear ([Califon, N.J.?: C. Rosen, 2004?]). Graphic Arts Collection (GAX) Oversize 2014-0939Q
Paul Auster, Reflections on a Cardboard Box; Drawings Henrik Drescher ([Mt. Horeb, Wis.]: Perishable Press, 2004).Rare Books (Ex) 2005-2248N
D.R. Wakefield, Pugilistica Judaica: Jewish Prize-fighters in London 1785-1840 ([East Yorkshire]: Chevington Press, 2006).Graphic Arts Collection (GAX) Oversize 2008-0022F
Art Spiegelman, Breakdowns: Portrait of the Artist as a Young [squiggle][star]! 1st rev. ed. (New York: Pantheon Books, 2008). Rare Books (Ex) Oversize 2008-0492Q
Lynne Avadenka, Plum Colored Regret (Huntington Woods, Mich.: Land Marks Press, 2010). Graphic Arts Collection (GAX) Oversize 2011-0060Q
Sarah Horowitz, Alpha Botanica ([Portland, Or.: Wiesedruck, 2007]) Graphic Arts Collection (GAX) 2014-0009S

Comparing collections in Oslo, Glasgow, Oxford, and Princeton

We are offering a guest post today written by Larry J. Schaaf, Director, William Henry Fox Talbot Catalogue Raisonné, Bodleian Libraries, University of Oxford with additional information from Tone Rasch, Curator, The Norwegian Museum of Science and Technology, Oslo, Norway. Our sincere thanks to them both.

unidentified-ntm-2774-vp
“In 2009, Tone Rasch of the Norwegian Museum of Science and Technology contacted me about a mysterious paper negative in their collection [left]. It depicts a man standing among the ruins of a once-grand urban building. In 1935 this museum had been one of the recipients of Miss Matilda Talbot’s distributions of her grandfather’s photographs but I knew straight away that it was not the work of Talbot.

This negative had come into the museum through the collection of the Swedish professor of photography, Helmer Bäckstöm. He had made some notes on the negative and elsewhere suggested that it was by the Edinburgh photographers Hill & Adamson.

Some years before I had catalogued Glasgow’s collection of their work and I was immediately reminded of two negatives taken during the 1848 demolition of the 15th-century Trinity College Church, then shamefully being demolished to make way for Waverly Station.
http://special.lib.gla.ac.uk/hillandadamson/search/detail.cfm?Haa_GUL_Number=HA0636 and
http://special.lib.gla.ac.uk/hillandadamson/search/detail.cfm?Haa_GUL_Number=HA0758
but the association was not convincing.”

willattsalbum_princetonQuite separately one of the entries that I contributed to the biographical dictionary in Roger Taylor’s Impressed by Light [(SAPH) Oversize TR395 .T39 2007q] a couple of years before was on John Sherrington, an English Catholic who had moved to Rotterdam in 1838 after a bank failure. http://www.luminous-lint.com/app/photographer/John__Sherrington/A/

We knew very little about Sherrington’s calotypes save for the fact that some prints from them were included in the fabulous Willats album at Princeton University. Permanent Link: http://arks.princeton.edu/ark:/88435/k930bx11x [leaf 37, seen left ]

I have to freely confess that none of these disparate threads came together in my mind at the time. However, for whatever reason, last week when I was reviewing the online version of the album the memories all fell into place – it is clear that the Norwegian negative and the Willats print are from the same session.

Just when was this fire that destroyed the theatre? Surely it would have been mentioned in the accounts of the Great Fire of 1849 that destroyed the commercial heart of the city, but curiously, so far no mention of the destruction by fire of the Rotterdam theatre has been traced.

What little we know of Sherrington at this point is primarily through the fame of his daughter, the soprano Madame Lemmons-Sherrington. https://books.google.com/books?id=p8ocAQAAIAAJ&pg=PA452&lpg=PA452&dq=rotterdam+%22john+sherrington%22&source=bl&ots=7Vg510BcQY&sig=sB5xSFVN50QVY8bOn-G2ZxFKLp0&hl=en&sa=X&ved=0ahUKEwiUvYPctajRAhWC7SYKHXykAnMQ6AEIKjAD#v=onepage&q=rotterdam%20%22john%20sherrington%22&f=false

close-upCropped and Photoshopped

This quest fits in well with the multiple intents of the William Henry Fox Talbot Catalogue Raisonné, now being prepared for online publication by the Bodleian Libraries at the University of Oxford. http://foxtalbot.bodleian.ox.ac.uk/. We presently have item-level records on about 25,000 original negatives and prints done by Talbot and his close associates and distributed through collections worldwide. It had been common practice in the past for most any early paper photograph to be attributed to Talbot, mostly because of a lack of information on just how many photographers were experimenting on paper in the 1840s. I remember many years ago Dr David Thomas, then curator of photographs at the Science Museum, telling me that anytime somebody turned up an early paper photograph in one of their collections he simply placed it in one of the Talbot boxes because there was no other place to store it. Hence is history created. The Catalogue will recognise these historical associations and attempt to properly attribute them.”

 

Here Tone mentions “I contacted Martin Jürgens at the Rijksmuseum in Amsterdam and he found another version of the Willats picture. http://collecties.stadsarchief.rotterdam.nl/publiek/detail.aspx?xmldescid=415896&tag=gebeurtenis;akten;archieven;algemeen&view=lijst&volgnummer=1&positie=7&beschrijvingssoort=157879244&doc_beschrijvingssoort=157879244&a_z=%5BARGS_PLACEHOLDER%5D This is a bit confusing because this text differs from the album text, telling that ruin is from the fire in Rotterdam in 1849 from the sugar refinery of Mr. Tromp. Not at all a theater fire.

This photograph is not attributed to Sherrington, as are 11 other photos in the city archive, among these the wheel boat that is in the Willats album as well. I have sent a mail to the archive to ask if they have any further information on Sherrington or the sugar refinery. I have also sent a mail to Copenhagen Museum that has the collection of Frederik Riise who once owned the paper negative. The text that tells about the gift of Frederik Riise is written on the back side of the negative, same thing with the unreadable words at the right side of the picture.

And just to clarify, “The paper negative was photographed in 2009 when it was mounted between two glasses with an exhibition text. As you will see, the picture is less distinctly than the newer positive print. You can see the 2009 picture here:https://digitaltmuseum.no/011024238926/fotografi?aq=owner%3A%22OMU%22+text%3A%22papirnegativ%22&i=0

 
New information can be found at http://www.tekniskmuseum.no/nyheter-fra-samlingene/1318-fotografi-fra-1849-identifisert

willats-volumeThe Willats album was purchased for Princeton by Gillett Griffin (1928-2016). Please save the date for the inaugural Gillett G. Griffin Memorial Lecture: “The London Circle: Early Explorations of Photography” delivered by Sara Stevenson on Sunday, 2 April 2017 at 3:00 p.m. in The Friends Center, Princeton University corner of William Street and Olden Street, Princeton, New Jersey. https://graphicarts.princeton.edu/2016/11/11/the-inaugural-gillett-g-griffin-memorial-lecture/

Entertaining Knowledge here – Trump Trump Trumpery Trump

trump-trump6Charles Jameson Grant (active 1830-1852), The Penny Trumpeter!, September 20, 1832. Lithograph. Published by G.S.Tregear, 123 Cheapside. Graphic Arts Collection GAX 2017- in process

The subject of C. J. Grant’s print is Henry Peter Brougham (1778-1868), satirized as a newsboy blowing a small trumpet to publicize his Penny Magazine. Lord Brougham was responsible for establishing the Society for the Diffusion of Useful Knowledge and through it, publishing numerous booklets and magazines with generic information for a mass audience. Complex histories or scientific theories were reduced to overly simplistic articles of little value except entertainment, a genre that became known as Trumpery.trump-trump

The Penny Magazine appeared in March 1832 and by September, Grant was already satirizing its bland articles illustrated with black and white wood engravings printed from cheap stereoscopic plates. In his own work, Grant specialized in bright, hand colored lithographs, deliberately radical in their politics. Here he trumpets “Entertaining Knowledge here—Trump Trump Trumpery Trump—Just printed and published the Penny Magazine, All works not issued by the Society for the Diffusion of Useful Knowledge are Illegal—Orders now taken for the forthcoming New Penny Cyclopaedia, Trump Trump.”

an00677553_001_l-2Grant’s Penny Trumpeter also appeared in one of his mock frontispieces for the magazine (the British Museum holds two versions of the broadsides), with multiple vignettes criticizing Brougham and his publication.

 

The Penny Magazine of the Society for the Diffusion of Useful Knowledge (London: Charles Knight, 1832-1845). Vol. 1, no. 1 (Mar. 31, 1832)-v. 14, no. 882 (Dec. 1845). Graphic Arts Collection (GAX) Oversize 2006-0186Q

Richard Pound, editor, C.J. Grant’s Political Drama: A Radical Satirist Rediscovered (London: University College, 1998)

trump-trump2“Materials for the Penny Cyclopaedia to commence in 1833 & to end the Devil knows when…”

Mark Peters wrote about the history of the word Trumpery for Salon: http://www.salon.com/2016/03/05/trump_really_does_stand_for_b_s_trumpery_an_old_fashioned_word_thats_proving_useful_today/

 

 

Horizontorium, 3D views in 1832

horizontorium2John Jesse Barker after a design by William Mason (active 1822–1860), Horizontorium, 1832. Lithograph. Published by R. H. Hobson, 147 Chestnut Street, Philadelphia, PA. Graphic Arts Collection GAX 2017- in process [photographed at an angle]

Before the advent of 3D glasses, print collectors enjoyed optical views like this one to experience the world in more dimension than the usual flat image. This print was to be laid on a flat table and each viewer meant to put their chin on the bottom center so as to see the building at an extreme angle. This is one version of anamorphosis, sometimes also designed to be viewed in a circular reflection.

Here are two other examples from the Graphic Arts Collection collection: https://graphicarts.princeton.edu/2015/03/25/anamorphic-images/ and https://blogs.princeton.edu/graphicarts/2008/02/anamorphic_self-portrait_by_ch.html .

 

horizontorium

horizontorium5Note the spot for your chin, if you want optimal 3D viewing.

horizontorium4

The building seen here has been identified as the Gothic-style bank erected in 1808 after the designs of Benjamin Henry Latrobe at the southwest corner of Fourth and Chestnut streets in Philadelphia. The Philadelphia Bank or Bank of Philadelphia (predecessor of the Philadelphia National Bank), was formed in 1803 and incorporated in 1804 as the unofficial bank of the commonwealth. Unfortunately the building was lost in 1836, not long after this print was made.

Researchers believe this print is the only recognized American “Horizontorium” and I have not been able to prove them wrong. The Library Company of Philadelphia, which also owns a copy of this print, suggests that the probable printer was Childs & Inman. For more information, try Nicholas B. Wainwright, History of the Philadelphia National Bank; a century and a half of Philadelphia banking, 1803-1953 (Philadelphia, 1953). HG2613.P5P7 and Nicholas B. Wainwright, Philadelphia in the romantic age of lithography: an illustrated history of early lithography in Philadelphia, with a descriptive list of Philadelphia scenes made by Philadelphia lithographers before 1866 (Philadelphia: Historical Society of Pennsylvania, 1958 (1970 printing)) Graphic Arts Collection (GA) Oversize 2008-0429Q

A letter in St. Nicholas magazine, v. 6 (October 1879) p.844, suggests that “a good way to look at this picture is to take a piece of card-board, about three inches long, and bend the bottom of it, in the manner shown in this diagram. Two holes should be made in the card, and the one in the lower bent portion should be so placed that the point of sight can be seen through it. The hole in the upright portion should be 2 inches from the bottom, or the angle formed by the bent part. Through this upper hole the picture should be viewed, when all its peculiar perspective—or, rather, want of perspective—will disappear.” Read the entire piece in GoogleBooks: https://books.google.com/books?id=jqYzAQAAMAAJ&pg=PA844&dq=horizontorium+philadelphia&hl=en&sa=X&ved=0ahUKEwjfksD87abRAhUBVCYKHZj-B4UQ6AEINDAF#v=onepage&q=horizontorium%20philadelphia&f=false

Posted in honor of John Berger, 1926-2017, author of Ways of Seeing (London: British Broadcasting Corporation; Harmondsworth, Penguin, 1972). Firestone N7420 .W28 1972