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Updated: August 21, 2024


The centre-table had two or three gilt-edged books lying carelessly about on it, and some prints and a stereoscope with stereographs to match, chiefly groups of picnics, weddings, etc., in which the same somewhat fatigued looking ladies of fashion and brides received the attentions of the same unpleasant-looking young men, easily identified under their different disguises, consisting of fashionable raiment such as gentlemen are supposed to wear habitually.

The furniture was in green terry, the carpet a harsh, brilliant tapestry; on the marble-topped centre table was a big clasp Bible and a basket with a stereoscope and views; the marbleised iron shelf above the stove-pipe hole supported two glass vases and a French clock under a glass bell; through the open door, across the oil-cloth of the hallway, she saw the white-painted pine balusters of the steep, cramped stairs.

An oil painting of a mountain landscape hung against one wall; and on a table of black walnut, with a red marble slab, that stood between the front windows, were a stereoscope and a rosewood music box.

What is the underlying truth that is here? How comes it that these two objects blend into one, like two figures in a stereoscope; and that the faith which flows to Jesus Christ rests upon God? This is the underlying truth, that Jesus Christ, Himself divine, is the divine Revealer of God.

Opticians tell us that the mental combination of the views of an object which we obtain from stations no further apart than our two eyes is sufficient to produce in our minds an impression of the solidity of the object seen; and we find that this impression is produced even when we are aware that we are really looking at two flat pictures placed in a stereoscope.

It is the same cliff as at supper time. Lying down again, it is the cliff as seen in profile, with a long slope and distant summit. Musing on this, I forget "the morrow and the canyons to come"; I have found a way to estimate the altitude and slope of an inclination, in like manner as I can judge of distance along the horizon. The reason is simple. A reference to the stereoscope will suggest it.

Mere points as their faces seem to the naked eye, the stereoscope, and still more a strong magnifier, shows them with their mouths all open as they join in the chorus, and with such distinctness that some of them might readily be recognized by those familiar with their aspect.

The idea has been repeated under different aspects; sometimes, possibly, it has been repeated too often; but different aspects in such a case do help, as in a stereoscope, to give solidity to the thing seen. XII and xiii deal especially with the evolution of Christianity itself; xiv and xv explain the inner Meaning of the whole process from the beginning; and xvi and xvii look to the Future.

There is space and light in this picture, as in any room. Every object is detached, as in the common miracle of the stereoscope. If art consist in making a fleeting moment immortal, if the True is a higher ideal than the Beautiful, then it will be hard to find a greater painting than this.

These are still our chief favorites for scenery, for architectural objects, for almost everything but portraits, and even these last acquire a reality in the stereoscope which they can get in no other way. In this third photographic excursion we must only touch briefly upon the stereograph. Yet we have something to add to what we said before on this topic.

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