Diableries: The Complete Edition: Stereoscopic Adventures in Hell

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Brian May is one of the world’s foremost collectors of Victorian stereo cards. He published his first book about these cards in 2009. 'A Village Lost And Found' contained a complete series of stereo cards taken in a small Oxfordshire village, and was a huge success and the subject of a great deal of media attention. In this scene, the devil is getting people drunk and stealing their souls. That’s him hanging from a pillar, filling a woman’s glass with champagne. This image was signed by Pierre Hennetier, the originator of the Diableries. This week sees the release of a book co-authored by Brian May (yes, that one) about an unusual series of stereo photographs featuring hell, skeletons and demons all aglow. Later this week, May and co-authors Denis Pellerin and Paula Fleming are releasing a book about a fascinating and unusual series of stereo photographs, which were something of a phenomenon in 19th century France, and bear the wonderful name ‘Diableries’. As for assertions that Giovanni Battista della Porta (1538 (1535?)-1615), also understood binocular vision, if you’re interested, look at this great discussion by Abram Klooswyk:

Brian, who holds an extensive collection of stereo cards, will display a selection of original Diableries cards along with some of his most treasured stereoscopes and 3-D cameras from the Victorian days, providing a fascinating insight into stereoscopy.Calling them “high art,” Mays says, “I think they are absolutely saturated with, not only beauty and invention, but meaning as well.” To sum up, as far as Renaissance 3-D paintings go, the truth of the matter seems to be that many artists created more than one version of their favourite scenes, sometimes painting in places quite far apart geographically, so they must have carried with them very detailed drawings which they were able to transfer to the surface they were working on. They were surprisingly accurate but there were of course some discrepancies between versions. It is these discrepancies, minor variations, that lead some people to think that they see a stereo image when fusing the two paintings. But, as we’ve seen, these variations are not consistent with any deliberate scheme of parallax. Sorry, guys, the 3-D image we all wanted to be there is simply not there. Brian May, Denis Pellerin and Paula Fleming proudly present their Diableries exhibition; a devilment of colourful and infernally detailed three-dimensional images of the underworld, originating from the 19 th century.

Once the scene had been created and photographed, the models would be broken up and used again for a different tableau.” The French version of the book Diableries has been updated to include a new discovery – a card titled Correspondance de Satan, one of the two cards reported missing in the English edition – which surfaced only a few months ago. This edition also features some new ultra-high quality images fully restored over several months by Dr. May from the newly found negatives themselves.Uncover the stories behind the Diableries and follow their journey through the underworld using the full size OWL stereoscopic viewer, neatly housed in a storage envelope and inserted alongside the book in a protective slipcase. Paula Richardson Fleming is a photo historian with a special interest in stereoscopy. Her association with Brian and Denis came from their common passion for the Diableries.

These amazing and patiently restored binocular reproductions can been seen in glorious 3-D thanks to the OWL stereoscope included in the book. THE AUTHORS This book is the result of the passionate work of three authors who have made it possible, for the first time in the 21st century, to publish in one book all of the known Diableries made in the second half of the 19th century.

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Denis Pellerin, passionate historian of stereoscopy, was a teacher for 30 years. He wrote several books on 19th century stereo photography and has been fascinated by the Diableries for over a quarter of a century. There is just so much detail in these images, so much to look at,” says May. “They repay you if you take your time and take everything in.” Leonardo is exactly the kind of wonderful lateral thinking man, immersed in art and science, who would could have figured that out. It would be lovely to think that he did, and it’s very understandable that these guys, Carbon and Hesslinger, would have got excited by the prospect. To discover whether he really did, we need to look carefully at what stereoscopy, otherwise known as 3-D photography, is.

It is with excitement and awe that the three authors will remind the French of this piece of their national heritage which, though hugely popular and quite seditious in its time, was only known until lately to a few collectors. Until M.Pellerin began his researches into the dark corners of the French 1860s, no-one among those fascinated by the images had any clue as to the secrets concealed in the pictures – the stories they were really telling.Following the success in Britain and in the States of their book, Diableries : Stereoscopic Adventures in Hell, the three authors, with their new French publisher, Les Editions La Martinière, will present the book in its version française to the Press on November 25 at the Hotel de Sully, in Paris. Those of us over a certain age (fear not - your secret is safe with me!) will almost certainly remember the View Master: DaVinci did write about monocular and binocular vision, and studied aspects of optics including eye anatomy and light reflection, and he even experimented with colored light sources,” Science News’ Erika Engelhaupt writes. “But it’s not clear whether he put all the pieces together to understand how to create a stereoscopic image. The paintings don’t quite make a perfect stereo pair.”