IMPROVED MEANS OR APPARATUS FOR PRODUCING SCENIC EFFECTS."
Year: 1864

page_text: LETTERS PATENT to William Callcott, of Park Village East, in the County
of Middlesex, Scenic Artist, for the Invention of "IMPROVED MEANS OR
APPARATUS FOR PRODUCING SCENIC EFFECTS."
PROVISIONAL SPECIFICATION left by the said William Callcott at the
Office of the Commissioners of Patents, with his Petition, on the 2nd
April 1864.
I. WILLIAM CALLCOTT, of Park Village East, in the County of Middlesex,
Scenic Artist, do hereby declare the nature of the said Invention for "IMPROVED
MEANS OR APPARATUS FOR PRODUCING SCENIC EFFECTS," to be as follows:-
Hitherto the ordinary means adopted to. produce visionary effects on the
stage of theatres and other places of exhibition is by painting certain portions
of the scenery on Scotch gauze or net. An opening is cut in the scene, and
said gauze or net is attached and covers the opening, this is backed by a
working cloth or piece of scenery, and by reducing the light in front of the
scene, and increasing the light behind the gauze, the painting on the gauze
becomes invisible, disclosing whatever may be the vision or apparition.
Sometimes an entire form is made in outline of wirework and then covered

page_text: with gauze or net, afterwards painted in clouds or otherwise as required, and
latterly a wire gauze resembling the mesh of Scotch gauze has been intro-
duced. The methods hitherto adopted have produced semi-opaque effect by
what has been shewn, vanishing more or less.
The object of my Invention is to produce the effect of a vision apparent
through whatever may be painted on the scene or on several scenes at once,
and if required, without reducing the light in front of the scenery to anything
like the extent hitherto compulsorily practised, the colors of the painting
remaining palpable throughout, the vision being seen through these colors,
and partaking (as in the case of an armed figure), in so far as the difference
of light will permit, of the colors past which the vision will be made to walk
or glide; and to effect my purpose I use all the ordinary appliances of the
stage for lifting, moving, piecing, or setting my tableaux, the combination for
which I ask protection being that of a sheet or sheets of glass painted in
transparent colors to represent any scene or scenery, whether forest, wall,
drapery, or other, such sheet or sheets of painted glass being covered in front
by the network known as Italian net or other network (also painted), and
having at its or their back a light backing, such as white linen or cotton,
which is also transparent. It will be at once understood that the scenes and
visions which may be produced by this combination are innumerable, but to
give a full idea thereof I instance two, say, first, the ghost scene in the play
of Hamlet. The scene is set with glass, in one piece or in as many pieces as
may be convenient, painted, prepared, and combined with net and backing as
aforesaid, and representing tapestry, columns, and other architecture. The
ghost (nevertheless a real personage) enters covered by the ray of a lime or
other light, plain or of any color (using or not a graduated color glass in front
of the lens), and as it passes along and behind the scene (which is illuminated
at its back in the ordinary or any effective manner) it takes on its armour the
various colors of the tapestry and columns, the effect being that the ghost not
only appears to pass through the solid column and thick tapestry, but actually
assumes a shade of color corresponding with that of the column as it appears to
pass through it, and a shade similar to that of the tapestry as it passes from
the column, and so on until it disappears or actually walks through the scene
on to the stage. Secondly, say, for a diorama, several sheets of glass (in this
instance we will suppose three) are used, and may be painted with designs,
covering or partially covering them, say, 1st. design, an interior; 2nd. design,
a battle field; 8d. design, a vision of an angel descending. Now supposing
a lady or lay figure reclining in front of the first scene, and that this lady is
dreaming of her absent husband, a knight gone to the wars, she sees a figure

page_text: (which may also be a real personage or an automaton) appear with colored
light (lime or other) on its form indistinct and as though it appeared through
the walls, a gauze screen works up between the first and second glass, dis-
covering a battle-field by means of strong light (gas) thrown on linen at back,
sundry figures, real or otherwise, are seen fighting, and then back or 3d.
picture. becomes transparent, and is seen through the two first pictures. The
distance between the plates or sheets of glass to be regulated by their size, the
capacity of the stage, or at the will of the artist.
SPECIFICATION in pursuance of the conditions of the Letters Patent, filed
by the said William Callcott in the Great Seal Patent Office on the 30th
September 1864.
TO ALL TO WHOM THESE PRESENTS SHALL COME, I, WILLIAM
CALLCOTT, of Park Village East, in the County of Middlesex, Scenic Artist,
send greeting.
WHEREAS Her most Excellent Majesty Queen Victoria, by Her Letters
Patent, bearing date the Second day of April, in the year of our Lord
One thousand eight hundred and sixty-four, in the twenty-seventh year of.
Her reign, did, for Herself, Her heirs and successors, give and grant unto
me, the said William Callcott, Her special licence that I, the said William
Callcott, my executors, administrators, and assigns, or such others as I, the
said William Callcott, my executors, administrators, and assigns, should at
any time agree with, and no others, from time to time and at all times
thereafter during the term therein expressed, should and lawfully might
make, use, exercise, and vend, within the United Kingdom of Great Britain
and Ireland, the Channel Islands, and Isle of Man, an Invention for
"IMPROVED MEANS OR APPARATUS FOR PRODUCING SCENIC EFFECTS," upon the
condition (amongst others) that I, the said William Callcott, my executors
or administrators, by an instrument in writing under my, or their, or one
of their hands and seals, should particularly describe and ascertain the nature
of the said Invention, and in what manner the same was to be performed,
and cause the same to be filed in the Great Seal Patent Office within six
calendar months next and immediately after the date of the said Letters
Patent.
NOW KNOW YE, that I, the said William Callcott, do hereby declare the
nature of my said Invention, and in what manner the same is to be per-

page_text: formed, to be particularly described and ascertained in and by the following
statement, reference being had to the annexed Two Sheets of Drawings,
forming part of this my Final Specification, and to the letters of reference
marked on the several Diagrams :-
Hitherto the ordinary means adopted to produce visionary effects on the
stage of theatres and other places of exhibition is by painting certain portions
of the scenery on Scotch gauze or net. An opening is cut in the scene, and
said gauze or net is attached and covers the opening; this is backed by a
working cloth or piece of scenery, and by reducing the light in front of the
scene, and increasing the light behind the gauze, the painting on the gauze
becomes invisible, disclosing whatever may be the vision or apparition.
Sometimes an entire form is made in outline of wirework and then covered
with gauze or net, afterwards painted in clouds or otherwise as required, and
latterly a wire gauze resembling the mesh of Scotch gauze has been intro-
duced. The methods hitherto adopted have produced semi-opaque effect by
what has been shewn; vanishing more or less.
:
The object of my Invention is to produce the effect of a vision apparent
through whatever may be painted on the scene or on several scenes at once,
and if required, without reducing the light in front of the scenery to anything
like the extent hitherto compulsorily practised, the colors of the painting
remaining palpable throughout, the vision being seen through these colors and
partaking (as in the case of an armed figure) in so far as the difference of
light will permit of the colors past which the vision will be made to walk or
glide; and to effect my purpose I use all the ordinary appliances of the stage
for lifting, moving, piecing, or setting my tableaux, the combination for which
I have protection being that of a sheet or sheets of glass painted in transparent
colors to represent any scene or scenery, whether forest, wall, drapery, or
other, such sheet or sheets of painted glass being covered in front by the
network known as Italian net or other network (also painted), and having at
its or their back a light or opaque backing, such as white linen or cotton,
which is also transparent. It will be at once understood that the scenes and
visions which may be produced by this combination are innumerable, but to
give a full idea thereof I instance two, say, first, the ghost scene in the play
of Hamlet. The scene is set with glass, in one piece, or in as many pieces as
may be convenient, painted, prepared, and combined with net, and backing as
aforesaid, and representing tapestry, columns, and other architecture. The
ghost (nevertheless a real personage) enters covered by the ray of a lime or
other light, plain or of any color (using or not a graduated color glass in front

page_text: of the lens), and as it passes along and behind the scene (which is illuminated
at its back in the ordinary or any effective manner) it takes on its armour
the various colors of the tapestry and columns, the effect being that the ghost
not only appears to pass through the solid column and thick tapestry, but
actually assumes a shade of color corresponding with that of the column as it
appears to pass through it, and a shade similar to that of the tapestry as it
passes from the column, and so on until it disappears or actually walks
through the scene on to the stage; secondly, say for a diorama, several sheets
of glass (in this instance we will suppose two) are used, and may be painted
with designs covering or partially covering them; say, firstly, design an
interior; secondly, design a battle field; thirdly, design (not on glass) -a
vision of an angel descending. Now supposing a lady or lay figure reclining
in front of the first scene, and that this lady is dreaming of her absent
husband, a knight gone to the wars, she sees a figure (which may also be a
real personage or an automaton) appear with colored light (lime or other) on
its form indistinct and as though it appeared through the walls; a gauze
screen works up between the first and second glasses, discovering a
field by means of strong light (gas) thrown on linen at back, sundry figures,
real or otherwise, are seen fighting, and then back or third picture becomes.
transparent, and is seen through the two first pictures. The distance between
the plates or sheets of glass to be regulated by their size, the capacity of the
stage, or at the will of the artist.
battle-
In the accompanying Drawings Sheet 1 represents a back view of a plan
of construction or portion of a set scene suitable for the appearance of the
ghost in Hamlet as aforesaid.
A, A, represents frame scenery down to the arrows, separate or together,
with B, B, also framed scenery, with grooves at C, C, C, C. In these grooves
are plates of glass painted transparent as columns and tapestry. In this
Drawing D shews iron rods with hooks to brace up scene let into a back
framed scene when in place; E, ropes to take up the whole or part of scene,
at option of the machinist; F, raking slote for figure to work down on to the
stage; G, plate or other glass, in squares of convenient size, having tapestry
and columns for this scene, (or trees, water, or other scenery painted thereon,
according to the subject to be represented,) lime or other light is thrown upon
the "figure"; (this figure may be a person, an effigy, or a piece of glass
painted transparent as "figure") as it descends the slote..
Sheet 2 represents the introduction of figures, living or unreal, into dissolving.
pictures, and the application of glass painted and applied in combination with
:

page_text: .
and forming a portion of framed scenery, the effect of a passing picture seen
through another picture in combination with living or artificial figures, or no
figures and graduated colored lights.
A; B, represent frames with scenic design painted in transparent colors
(entirely over or in part only) on glass, at the option of the artist; or should
the proportions be extremely large it will be necessary to have a margin of
framed scenery covered with canvass and blended into the transparent por
tions; C, frame covered with fine linen (the painting is transparent, and the
painting is from not towards the audience); in the Drawing it is represented
as when illuminated. C, D, a sheet of fine net or gauze, on frame or other-
wise, to move up or otherwise (say laterally); D, the framework supporting
the stage or platform and upper work'; D, D', the opening or proscenium;
E, E, lime lights with a graduated coloured glass in front of lens; E, E, lime
light at back to illuminate transparency; these lights are..on stands or may
be held in position; F, mechanism, which may be slote, slide, or any other
ordinary methods for working figures on scenery; these are as many as the
figures to be moved may require; G, a "figure" working up mechanism ';
H, H, openings on stage for figures to appear through. The grooves can be
of any length to allow glass in frames to work off if wanted.
This scenic effect is worked as follows:-The scene at first represents an
interior, the figure G appears gradually with colored light from E on its form,
and produces an effect of indistinctness, as though it appeared through walls
and melted away afterwards. The gauze, C, D, then works up and shews a
battle-field by means of a strong light thrown on design at back, and lit
from E, figures I, I, appear as in battle, when the back picture, lighted
from E, E, becomes transparent and is seen through the two first pictures.
Having now described the nature of my said Invention, and means by
which I carry the same into practical effect, I would have it distinctly
understood that I do not confine myself to the details herein given, as the
description and illustrations are merely for the purpose of shewing means for
producing my new scenic effects, and the scenes described and shewn are
shewn as scenes in which my Invention is brought into use, and as vehicles'
only for that purpose, as any scenery fitted with or by my Invention may be
used for the production of my scenic effects, and therefore no claim is made
for the use of ordinary scenery or mechanism; but what I declare to be of s
my Invention is, and I claim,-
Firstly, the exclusive use of a combination composed of a sheet or sheets of
glass painted in transparent colors, covered in front with painted network, and
having an opaque or transparent backing.

page_text: Secondly, I claim the exclusive use of a combination of a sheet or sheets of
glass painted in transparent colors with an opaque or transparent backing, the
whole substantially as herein-before described.
In witness whereof, I, the said William Callcott, have hereunto set my
hand and seal, this Thirtieth day of September, in the year of our
Lord One thousand eight hundred and sixty-four.
WILLIAM CALLCOTT. (L.B.)