CAPE LAPLACE.
These lights are red, white, and blue incandescent electric lamps arranged in series, and controlled by a rheostat, permitting every possible combination and intensity of tint, and to the intelligent manipulation of which is due much of the success of the scene. Our interest is intensified by a view from a distance of five thousand miles, showing the lunar mountains and other prominent features. The plaster image of the moon, viewed through a circular piece of gauze set in a black drop, is ten feet in diameter. The change of phase is produced from the light thrown from the lanterns, as shown in the illustration.
SUNRISE AND EARTH LIGHT.
The splendid scenes of Mt. Aristarchus and Cape Laplace are splendid pictures and are shown from the height of two and one half miles. By trigonometric mensuration of the shadows, and application of their values by perspective, the artist is enabled to represent the general features of the landscape with fidelity. These scenes are lighted from behind by four arc lights, by bunch lights and footlights, and the combined candle power is eight thousand five hundred candles. This brings out the contrast of the landscape in this dead world. From the moon surface, the earth always seems to occupy the same place, and reflects to the moon a part of the light received from the sun. The phenomena of earthlight and sunlight upon the moon are given by transparent places in the scene representing sky, and lit up by a lantern. The mountain on either side has each a lantern, whose light is permitted to fall on the drop by gradually lowering the screen. A modified arc light illuminates the front of the scene and gives the earth light.
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| BACK OF THE EARTH WITH GELATINE ATMOSPHERE. | THE SUN BOX INTERIOR AND THE BOX RISING. |
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| SOLAR ECLIPSE AS VIEWED FROM THE MOON. | |
Probably the most unique of the cosmic phenomena is a solar eclipse viewed from the moon. The earth is an opaque disc with a red gelatine band attached to its circumference with white muslin, and suspended by two hooks set in a shelf extending across its back. A coat of phosphorescent paint gives the glow. The sun consists of a box with a cover of gelatine on which the sun is painted; a semicircular wooden arm incloses a reflector and supports six incandescent lamps set inwardly. The box hooks into a piece of leather with a circular aperture coincident with the sun’s face, and sewed into the drop. Holes in the drop allow the light from an arc light to imitate the stars. The surface of the moon is painted on canvas supported on hinged props having spread feet. A stiff rod joins the hinges and forms the horizon. A footlight is placed within this tent-like cover to illuminate it. The drop curtain carrying the sun box is raised by a windlass, and as the sun rises, accompanied by the stars, the footlight is turned up. In passing behind the earth, the sun imparts a crimson view to the earth’s atmosphere, which the footlight transfers to the moon until the extinction of the solar disk. The return to earth is marked by a view of that part of the earth surface most resembling the moon’s, the Tyrolean highlands. The afterglow of sunset, moonrise, and a lunar eclipse are depicted with great accuracy. The gradual movement of a deep red gelatine film across the lantern-slide holder causes the moon to appear to enter and emerge from the earth’s shadow. A sunset on the Indian Ocean and moonrise on the first scene concludes the lecture. A series of stereopticon views of great beauty are interspersed between the mounted scenes, thus furnishing a continuous performance.