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It was mostly developed in the 17th century and commonly used for entertainment purposes. It was increasingly used for education during the 19th century. Since the late 19th century, smaller versions were also mass-produced as toys. The magic lantern was in wide use from the 18th century until the mid-20th century when it was superseded by a compact version that could hold many 35 mm photographic slides: the slide projector.

Christiaan Huygens is credited as the inventor of the magic lantern, described in correspondence of 1659.[2] There are others to whom such a lantern device has been attributed, such as Giambattista della Porta and Cornelis Drebbel, though Huygens's design used lens for better projection (Athanasius Kircher has also been credited for that).[3]

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Biunial lanterns, with two objectives, became common during the 19th century and enabled a smooth and easy change of pictures. Stereopticons added more powerful light sources to optimize the projection of photographic slides.[7]

The first photographic lantern slides, called hyalotypes, were invented by the German-born brothers Ernst Wilhelm (William) and Friedrich (Frederick) Langenheim in 1848 in Philadelphia and patented in 1850.[11][12][13]

Several types of projection systems existed before the invention of the magic lantern. Giovanni Fontana, Leonardo da Vinci and Cornelis Drebbel described or drew image projectors that had similarities to the magic lantern.[16] In the 17th century, there was an immense interest in optics. The telescope and microscope were invented (in 1608 and the 1620s respectively) and apart from being useful to some scientists, such instruments were especially popular as entertaining curiosities to people who could afford them.[17] The magic lantern would prove a natural successor.

In 1654, Belgian Jesuit mathematician Andr Tacquet used Kircher's technique to show the journey from China to Belgium of Italian Jesuit missionary Martino Martini.[21] Some reports say that Martini lectured throughout Europe with a magic lantern, which he might have imported from China, but there's no evidence that it used anything other than Kircher's technique. However, Tacquet was a correspondent and friend of Christiaan Huygens and may thus have been a very early adapter of the magic lantern technique that Huygens developed around this period.[22][23]

Dutch scientist Christiaan Huygens is considered as one of the possible inventors of the magic lantern. He knew Athanasius Kircher's 1645 edition of Ars Magna Lucis et Umbrae[24] which described a primitive projection system with a focusing lens and text or pictures painted on a concave mirror reflecting sunlight. Christiaan's father Constantijn had been acquainted with Cornelis Drebbel who used some unidentified optical techniques to transform himself and to summon appearances in magical performances. Constantijn Huygens wrote about a camera obscura device that he got from Drebbel in 1622.[18]

The oldest known document concerning the magic lantern is a page on which Christiaan Huygens made ten small sketches of a skeleton taking off its skull, above which he wrote "for representations by means of convex glasses with the lamp" (translated from French). As this page was found between documents dated in 1659, it is believed to have been made in the same year.[25] Huygens soon seemed to regret this invention, as he thought it was too frivolous. In a 1662 letter to his brother Lodewijk he claimed he thought of it as some old "bagatelle" and seemed convinced that it would harm the family's reputation if people found out the lantern came from him. Christiaan had reluctantly sent a lantern to their father, but when he realized that Constantijn intended to show the lantern to the court of King Louis XIV of France at the Louvre, Christiaan asked Lodewijk to sabotage the lantern.[26]

Christiaan initially referred to the magic lantern as "la lampe" and "la lanterne", but in the last years of his life he used the then common term "laterna magica" in some notes. In 1694, he drew the principle of a "laterna magica" with two lenses.[27]

Before 1671, only a small circle of people seemed to have knowledge of the magic lantern, and almost every known report of the device from this period had to do with people that were more or less directly connected to Christiaan Huygens. Despite the rejection expressed in his letters to his brother, Huygens must have familiarized several people with the lantern.[33]

In 1664 Parisian engineer Pierre Petit wrote to Huygens to ask for some specifications of the lantern, because he was trying to construct one after seeing the lantern of "the dane" (probably Walgensten). The lantern that Petit was constructing had a concave mirror behind the lamp.[34] This directed more light through the lens, resulting in a brighter projection, and it would become a standard part of most of the lanterns that were made later. Petit may have copied it from Walgensten, but he expressed that he made a lamp stronger than any he had ever seen.[17]

Starting in 1661, Huygens corresponded with London optical instrument-maker Richard Reeve.[17] Reeve was soon selling magic lanterns, demonstrated one in his shop on 17 May 1663 to Balthasar de Monconys,[35] and sold one to Samuel Pepys in August 1666.[36][37]

By the 1730s the use of magic lanterns started to become more widespread when travelling showmen, conjurers and storytellers added them to their repertoire. The travelling lanternists were often called Savoyards (they supposedly came from the Savoy region in France) and became a common sight in many European cities.[17]

In 1821, Philip Carpenter's London company, which became Carpenter and Westley after his death, started manufacturing a sturdy but lightweight and transportable "Phantasmagoria lantern" with an Argand style lamp. It produced high quality projections and was suitable for classrooms. Carpenter also developed a "secret" copper plate printing/burning process to mass-produce glass lantern slides with printed outlines, which were then easily and quickly hand painted ready for sale.[47] These "copper-plate sliders" contained three or four very detailed 4" circular images mounted in thin hardwood frames. The first known set The Elements of Zoology became available in 1823, with over 200 images in 56 frames of zoological figures, classified according to the system of the Swedish scientist Carl Linnaeus. The same year many other slides appeared in the company's catalogue: "The Kings and Queens of England" (9 sliders taken from David Hume's History of England), "Astronomical Diagrams and Constellations" (9 sliders taken from Friedrich Wilhelm Herschel's textbooks), "Views and Buildings", Ancient and Modern Costume (62 sliders from various sources).[48] Fifteen sliders of the category "Humorous" provided some entertainment, but the focus on education was obvious and very successful.[49]

Through the mid-19th century, the market for magic lanterns was concentrated in Europe with production focused primarily on Italy, France, and England. In 1848, a New York optician began advertising imported slides and locally produced magic lanterns. By 1860, however, mass production began to make magic lanterns more widely available and affordable, with much of the production in the latter half of the 19th century concentrated in Germany.[50] These smaller lanterns had smaller glass sliders, which instead of wooden frames usually had colorful strips of paper glued around their edges with the images printed directly on the glass.[51]

In 1668, Robert Hooke wrote about the effects of a type of magic lantern installation: "Spectators not well versed in optics, that should see the various apparitions and disappearances, the motions, changes and actions that may this way be represented, would readily believe them to be supernatural and miraculous."[56]

In 1675, German polymath and philosopher Gottfried Wilhelm Leibniz proposed a kind of world exhibition that would show all types of new inventions and spectacles. In a handwritten document he supposed it should open and close with magic lantern shows, including subjects "which can be dismembered, to represent quite extraordinary and grotesque movements, which men would not be capable of making" (translated from French).[57][58]

Several reports of early magic lantern screenings possibly described moving pictures, but are not clear enough to conclude whether the viewers saw animated slides or motion depicted in still images.[53]

In 1698, German engraver and publisher Johann Christoph Weigel described several lantern slides with mechanisms that made glass parts move over one fixed glass slide, for instance by the means of a silk thread, or grooves in which the mobile part slides.[59]

By 1709 a German optician and glass grinder named Themme (or Temme) made moving lantern slides, including a carriage with rotating wheels, a cupid with a spinning wheel, a shooting gun, and falling bombs. Wheels were cut from the glass plate with a diamond and rotated by a thread that was spun around small brass wheels attached to the glass wheels. A paper slip mask would be quickly pulled away to reveal the red fiery discharge and the bullet from a shooting gun. Zacharias Conrad von Uffenbach visited Themme's shop and liked the effects, but was disappointed about the very simple mechanisms. Nonetheless, he bought seven moving slides, as well as twelve slides with four pictures each, which he thought were delicately painted.[60]

An especially intricate multiple rackwork mechanism was developed to show the movements of the planets (sometimes accompanied by revolving satellites) revolving around the Sun. In 1795, one M. Dicas offered an early magic lantern system, the Lucernal or Portable Eidouranian, that showed the orbiting planets. From around the 1820s mechanical astronomical slides became quite common.[62]

The effect of a gradual transition from one image to another, known as a dissolve in modern filmmaking, became the basis of a popular type of magic lantern show in England in the 19th century. Typical dissolving views showed landscapes dissolving from day to night or from summer to winter. This was achieved by aligning the projection of two matching images and slowly diminishing the first image while introducing the second image.[63] The subject and the effect of magic lantern dissolving views is similar to the popular Diorama theatre paintings that originated in Paris in 1822. 19th century magic lantern broadsides often used the terms dissolving view, dioramic view, or simply diorama interchangeably.[78] 2351a5e196