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{{Short description|Italian photographer and optician}}
{{Short description|Italian photographer and optician}}
[[File:Ponti, Carlo (ca. 1823-1893) - Mendicante.jpg|thumb|A beggar by Carlo Ponti]]
[[File:Ponti, Carlo (ca. 1823-1893) - Mendicante.jpg|thumb|A beggar by Carlo Ponti]]
[[File:Венеция. Дворец дожей и колонна Св.Марка ~1865г carlo-ponti-635654.jpg|thumb|Carlo Ponti (1865) Venice. Doge's Palace and St. Mark's Column]]
[[File:Венеция. Дворец дожей и колонна Св.Марка ~1865г carlo-ponti-635654.jpg|thumb|Carlo Ponti (1865) Venice. Doge's Palace and St. Mark's Column ]]
'''Carlo Ponti''' (1823–1893) was a [[Switzerland|Swiss]]-born optician and photographer from [[Venice]].<ref name=cin>The History of the Discovery of Cinematography, [http://www.precinemahistory.net/1860.htm Chapter Ten: 1860-1869]</ref><ref>{{Cite book |last=Plant |first=Margaret |url=https://books.google.com/books?id=NXu2DSxhEU4C&dq=%22Carlo+ponti%22++photographer&pg=PA128 |title=Venice: Fragile City, 1797-1997 |date=2002-01-01 |publisher=Yale University Press |isbn=978-0-300-08386-6 |language=en |author-link=Margaret Plant}}</ref>
'''Carlo Ponti''' (c.1823–1893) was a [[Switzerland|Swiss]]-born optician and photographer from [[Venice]].<ref name=cin>The History of the Discovery of Cinematography, [http://www.precinemahistory.net/1860.htm Chapter Ten: 1860-1869]</ref><ref>{{Cite book |last=Plant |first=Margaret |url=https://books.google.com/books?id=NXu2DSxhEU4C&dq=%22Carlo+ponti%22++photographer&pg=PA128 |title=Venice: Fragile City, 1797-1997 |date=2002-01-01 |publisher=Yale University Press |isbn=978-0-300-08386-6 |language=en |author-link=Margaret Plant}}</ref>


[[File:Photostat, Advertisement for a Megalethoscope, Invented by Charles Ponti, 1862–65 (CH 18443907).jpg|thumb|Megalethoscope; invented by Charles Ponti, 1862–65]]
[[File:Photostat, Advertisement for a Megalethoscope, Invented by Charles Ponti, 1862–65 (CH 18443907).jpg|thumb|Megalethoscope; invented by Charles Ponti, 1862–65]]


== Early life ==
== Early life ==
Carlo Ponti was born in [[Sagno]] in Canton [[Ticino]] between 1922 and 1824.<ref name=":0">{{Cite book |last=Paoli |first=Sylvia |url=http://dx.doi.org/10.4324/9780203941782 |title=Encyclopedia of Nineteenth-Century Photography |date=2013 |publisher=Routledge |isbn=978-0-203-94178-2 |editor-last=Hannavy |editor-first=John |pages=1144–1146 |language=en |chapter=Ponti, Carlo (c. 1822–1893) Optician and photographer}}</ref> He moved as an adult to Paris to work for about five years in the [[Robert-Aglaé Cauchoix|Cauchoix]] studio before settling in Venice in 1852.
Carlo Ponti was born in [[Sagno]] in Canton [[Ticino]] between 1922-1824.<ref name=":0">{{Cite book |last=Paoli |first=Sylvia |url=http://dx.doi.org/10.4324/9780203941782 |title=Encyclopedia of Nineteenth-Century Photography |date=2013 |publisher=Routledge |isbn=978-0-203-94178-2 |editor-last=Hannavy |editor-first=John |pages=1144-1146 |language=en |chapter=Ponti, Carlo (c. 1822–1893) Optician and photographer}}</ref> He moved as an adult to Paris to work for about five years in the [[Robert-Aglaé Cauchoix|Cauchoix]] studio before settling in Venice in 1852.


== Career ==
== Career ==
Ponti opened an optician's shop in [[Piazza San Marco]] 52 producing high quality instruments for astronomy and physics and photographic lenses, especially those used for panoramas, for which he had sole rights, as well as selling products of other companies.<ref name=":0" />
Ponti opened an optician’s shop in [[Piazza San Marco]] 52,<ref>{{Cite book |last=Becchetti |first=Piero |title=Fotografi e fotografia in Italia 1839–1880 |publisher=Quasar |year=1978 |isbn=9788885020092 |location=Rome |pages=124–125 |language=it}}</ref> producing high quality instruments for astronomy and physics and photographic lenses, especially those used for panoramas, for which he had sole rights, as well as selling products of other companies.<ref name=":0" />


As a photographer and editor Ponti distributed photographic prints, both his own and others, building a large clientele. On 30 May 1854 he was awarded a silver medal for his photographic equipment at the Esposizione Industriale Veneta. From this time he systematically photographed Venice and by 1855 had a catalogue of 160 photographic views of Venetian architecture (''Guida fotografica illustrata della città di Venezia''), each captioned with historical and aesthetic information, supported by an introductory history of Venetian architecture, which was awarded at the Universal Exhibition in Paris in 1855. He published and distributed postcards and travel photographs of Venice and its art and architecture on an industrial scale, issuing thousands of prints a month by hundreds of employees. Tourists' collections of such photographic ‘spolia’ were preserved in their own photographic albums, and such distribution popularised classical and Renassiance Italian art.<ref name=":0" />
As a photographer and editor Ponti distributed photographic prints, both his own and others, building a large clientele. On 30 May 1854 he was awarded a silver medal for his photographic equipment at the Esposizione Industriale Veneta. From this time he systematically photographed Venice and by 1855 had a catalogue of 160 photographic views of Venetian architecture (''Guida fotografica illustrata della città di Venezia''), each captioned with historical and aesthetic information, supported by an introductory history of Venetian architecture, which was awarded at the Universal Exhibition in Paris in 1855. He published and distributed [[Postcard|postcards]], [[Stereoscopy|stereographs]] and travel photographs of Venice and its art and architecture on an industrial scale, issuing thousands of prints a month made by hundreds of employees. Tourists' collections of such photographic ‘spolia’ were preserved in their own photographic albums, and such distribution popularised classical and Renassiance Italian art.<ref name=":0" />


In this industry he collaborated with Francesco Maria Zinelli and Giuseppe Beniamino Coen and provided an outlet for other studio operators such as Antonio Perini, [[Carlo Naya]], and [[Domenico Bresolin]], who, on attaining the chair in landscape at the Accademia, transferred his studio and archive to Ponti.<ref name=":0" /> Ponti distributed their work with his own stamp, so that attribution is often disputed; Perini was probably the author pf some of the photographs in the catalogue Ponti presented at the Exposition Universelle in Paris in 1855. He was awarded a medal at the London International Exposition in 1862.<ref>Ponti Carlo. ''Charles Ponti Opticien Et Photographe De S.m. Le Roi D'italie : Inventeur Et Fabriquant De L'alethoscope ... : Place S.l Marc N. 52. Venise Riva Degli Schiavoni (Quai) N. 4180''. C. Ponti 1862. Advertisement for Ponti's photographs of Venice and Italy. Wood-engraved ill. of the medal awarded Ponti at the London International Exhibition of 1862. Printed on gray wove paper</ref>
In this industry he collaborated with Francesco Maria Zinelli and Giuseppe Beniamino Coen and provided an outlet for other studio operators such as Antonio Perini, [[Carlo Naya]], and [[Domenico Bresolin]], who, on attaining the chair in landscape at the Accademia, transferred his studio and archive to Ponti.<ref name=":0" /> Ponti distributed their work with his own stamp, so that attribution is often disputed; Perini was probably the author of some of the photographs in the catalogue Ponti presented at the Exposition Universelle in Paris in 1855.

In 1866 Carlo Ponti became official photographer to King [[Victor Emanuel II of Italy]], when Venice was incorporated in the Italian nation. This prestige brought further business in other cities including Paris, London, Liverpool, Berlin, Stuttgart, Lyons, New York, Chicago, Philadelphia, Boston, Montreal, and San Francisco.<ref name=":0" />


== Inventor ==
== Inventor ==
Ponti was an optician to King [[Victor Emanuel II of Italy]] and inventor of a sophisticated version of the [[Raree show|peep show]], the [[alethoscope]] (from the Greek “true”, “exact” and “vision”) in 1860,<ref name="athl">{{Cite book |last=Minici |first=Carlo Alberto Zotti |url=https://books.google.com/books?id=h6kfAQAAIAAJ&q=Alethoscope |title=Magic visions before the advent of the cinema |date=2001 |publisher=Il poligrafo |isbn=978-88-7115-299-8 |language=it}}</ref> and its larger version, the [[megalethoscope]],<ref>{{Cite book |last=Carlo. |first=Ponti, |url=http://worldcat.org/oclc/79947651 |title=The megalethoscope, invented by Charles Ponti, optician & photographer. : Its object and use. |date=1862 |publisher=C. Ponti |oclc=79947651}}</ref> produced by cabinetmaker Demetrio Puppolin, whose name is inscribed on different megalethoscopes.. Both devices produced enlarged views of photographs and enhanced their sense of plasticity, perspective and modelling.<ref name="cin" /> The [[Albumen print|albumen plates]] for some versions of the megalethoscope are curved with slotted wooden braces for optical correction of lens aberrations,<ref>{{Cite journal |last=Heylen |first=Sylke |last2=Maes |first2=Herman |date=1999 |title=Megalethoscope Plates: A Case Study: Conservation Treatment of Megalethoscope plates from the Collection of the Museum for Art and History |journal=Topics in Photographic Preservation |volume=8 |pages=23–30}}</ref> and pinprick perforations and mechanically thinned areas on the albumen prints have been made for viewing the photographic images under reflected and transmitted light to suggest day or night lighting, fantastic effects (diableries) and to add colours.<ref>{{Cite journal |last=Dune |first=Corinne |date=1 September 1996 |title=La photographie en spectacle : traitements de papiers albuminés peints transparents |journal=Coré |language=fr |volume=1 |issue=1996 |pages=26–30 |issn=1277-2550 |oclc=886969366}}</ref><ref>{{Cite journal |last=Iglesias |first=Rodrigo Martín |date=2011 |title=A través de la pantalla |journal=Jornadas Nacionales de Investigación en Arte en Argentina |location=La Plata |volume=VIII |issue=2011}}</ref>
Ponti was an optician to and inventor of a sophisticated version of the [[Raree show|peep show]], the [[alethoscope]] (from the Greek “true”, “exact” and “vision”) in 1860 which he presented to the Société française de photographie in 1861, then in April, to the Istituto di Scienze, Lettere ed Arti in Venice, earning an honourable mention there in May.<ref name="athl">{{Cite book |last=Minici |first=Carlo Alberto Zotti |url=https://books.google.com/books?id=h6kfAQAAIAAJ&q=Alethoscope |title=Magic visions before the advent of the cinema |date=2001 |publisher=Il poligrafo |isbn=978-88-7115-299-8 |language=it}}</ref> He obtained a patent in January 1862 and commenced marketing it. A larger version, the [[megalethoscope]],<ref>{{Cite book |last=Carlo. |first=Ponti, |url=http://worldcat.org/oclc/79947651 |title=The megalethoscope, invented by Charles Ponti, optician & photographer. : Its object and use. |date=1862 |publisher=C. Ponti |oclc=79947651}}</ref> was produced for him by cabinetmaker Demetrio Puppolin, whose name is inscribed on different models, some highly decorated with pearl inlay and marquetry. His invention was awarded Grand Prix at the [[1862 International Exhibition|International Exhibition]] in London in 1862.<ref>Ponti Carlo. ''Charles Ponti Opticien Et Photographe De S.m. Le Roi D'italie : Inventeur Et Fabriquant De L'alethoscope ... : Place S.l Marc N. 52. Venise Riva Degli Schiavoni (Quai) N. 4180''. C. Ponti 1862. Advertisement for Ponti's photographs of Venice and Italy. Wood-engraved ill. of the medal awarded Ponti at the London International Exhibition of 1862. Printed on gray wove paper</ref>


Both devices enlarged photographic views through a wide, thick magnifying lens to create an illusion of their plasticity, perspective depth and modelling.<ref name="cin" /><ref>{{Cite journal |last=Verwiebe |first=Birgit |date=September 1995 |title=L’illusione nel tempo e nello spazio. Il megaletoscopio di Carlo Ponti, un apparecchio fotografi co degli anni 1860 |journal=Fotologia |language=it |volume=16/17 |issue=Autumn/Winter 1995 |pages=53-61}}</ref> The [[Albumen print|albumen plates]] for some versions of the megalethoscope are curved with slotted wooden braces for optical correction of lens aberrations,<ref>{{Cite journal |last=Heylen |first=Sylke |last2=Maes |first2=Herman |date=1999 |title=Megalethoscope Plates: A Case Study: Conservation Treatment of Megalethoscope plates from the Collection of the Museum for Art and History |journal=Topics in Photographic Preservation |volume=8 |pages=23-30}}</ref> and pinprick perforations and mechanically thinned areas on the albumen prints have been made for viewing the photographic images under reflected and transmitted light to suggest day or night lighting, fantastic effects (diableries) and to add colours.<ref>{{Cite journal |last=Dune |first=Corinne |date=1 September 1996 |title=La photographie en spectacle : traitements de papiers albuminés peints transparents |journal=Coré |language=fr |volume=1 |issue=1996 |pages=26–30 |issn=1277-2550 |oclc=886969366}}</ref><ref>{{Cite journal |last=Iglesias |first=Rodrigo Martín |date=2011 |title=A través de la pantalla |journal=Jornadas Nacionales de Investigación en Arte en Argentina |location=La Plata |volume=VIII |issue=2011}}</ref>
⚫
== Collections ==


After Ponti's rights to these devices lapsed after 1866, due to administrative confusion after the after the [[Third Italian War of Independence]], when Venice, along with the rest of the [[Veneto]], became part of the newly created [[Unification of Italy|Kingdom of Italy]]. Despite Ponte's illegals battles between 1868 and 1876 to prevent it, Carlo Naya began to manufacture and sell the Aletoscopio, which Ponti tree to counter by issuing variations of the instrument under other names including Amfoteroscopio, Dioramoscopio, Pontioscopio, Cosmorama Fotografico.<ref name=":0" />

== Later life ==
Ponti retained his Swiss citizenship throughout his life. He published catalogues of his images, of Venice but also of other Italian cities, in 1855, 1864, 1866 and 1872.<ref name=":1">{{Cite book |last=Prandi |first=Alberto |title=Fotografia Italiana Dell'ottocento. Electa ; Alinari 1979 (Catalogue of the exhibition held in Florence, 1979 and in Venice, 1980) |publisher=Electa |year=1979 |editor-last=Miraglia |editor-first=Marina |location=Alinari, Milano, Firenze |pages=172-174 |language=it |chapter=Carlo Ponti |oclc=6358323}}</ref> He became totally blind during his latter years, and died in Venice on 16 November 1893.

⚫
== Exhibitions ==
* 1855: [[Exposition Universelle (1855)|''Exposition Universelle'']], Paris

=== Posthumous ===
* 1979: ''Fotografia italiana dell'Ottocento.'' Florence<ref name=":1" />
* 1980: ''Fotografia italiana dell'Ottocento.'' Venice<ref name=":1" />
* 1994, 23 September: Italien : ''Sehen und Sterben : Photographien zer Zeit des Risorgimento (1845-1870)'' exhibition organised by Agfa Foto-Historama. [[Romano-Germanic Museum|Römisch-Germanisches Museum]], [[Cologne|Köln]]<ref name=":2">{{Cite book |title=Italien : Sehen Und Sterben : Photographien Zer Zeit Des Risorgimento (1845-1870) : Eine Ausstellung Des Agfa Foto-Historama : Römisch-Germanisches Museum Köln 23. September 1994-4. Dezember 1994 : Reiss-Museum Der Stadt Mannheim 2. März-5. Juni 1995. Braus 1994. |publisher=Braus |year=1994 |isbn=9783894661014 |editor-last=Schuller-Procopovici |editor-first=Karin |location=Heidelberg |language=de |oclc=799565437 |editor-last2=de Dewitz |editor-first2=Bodo |editor-last3=Siegert |editor-first3=Dietmar}}</ref>
* 1995, 2 March–5 June: ''Italien : Sehen und Sterben : Photographien zer Zeit des Risorgimento (1845-1870)''. Reiss-Museum der Stadt [[Mannheim]]<ref name=":2" />
⚫
* 1996, 31 October—2 February 1997: ''Un Magicien De L'image = Zauberkünstler Mit Bildern''. Musée Suisse De L'appareil Photographique<ref>{{Cite book |last=Ponti |first=Carlo |title=Un Magicien De L'image = Zauberkünstler Mit Bildern : Exposition Au Musée Suisse De L'appareil Photographique Du 31 Octobre 1996 Au 2 Février 1997. |publisher=Museée Musée suisse de l'appareil photographique |year=1996 |isbn=9782970012801 |location=Vevey |language=fr}}</ref>

⚫
== Collections ==
* Museé Suisse de l’Appareil Photographique, Vevey: an example of the Megaletoscopio and albumen prints<ref name=":0" /><ref>{{Cite web |title=The Megaletoscope of Carlo Ponti {{!}} Camera Museum |url=https://www.cameramuseum.ch/en/discover/permanent-exhibition/the-origins-of-photography/the-megaletoscope-of-carlo-ponti/ |access-date=2023-02-23 |website=www.cameramuseum.ch}}</ref>
* Museé Suisse de l’Appareil Photographique, Vevey: an example of the Megaletoscopio and albumen prints<ref name=":0" /><ref>{{Cite web |title=The Megaletoscope of Carlo Ponti {{!}} Camera Museum |url=https://www.cameramuseum.ch/en/discover/permanent-exhibition/the-origins-of-photography/the-megaletoscope-of-carlo-ponti/ |access-date=2023-02-23 |website=www.cameramuseum.ch}}</ref>

* Fototeca della Soprintendenza per il Patrimonio Storico, Artistico e Demoetnoantropologico, Brera, Milan<ref name=":0" />
* Fototeca della Soprintendenza per il Patrimonio Storico, Artistico e Demoetnoantropologico, Brera, Milan<ref name=":0" />
* Museo di Storia della Fotografi a Fratelli Alinari, Florence<ref name=":0" />
* Museo di Storia della Fotografi a Fratelli Alinari, Florence<ref name=":0" />
Line 28: Line 47:
* Department of Photography, [[J. Paul Getty Museum]], Malibu<ref name=":0" />
* Department of Photography, [[J. Paul Getty Museum]], Malibu<ref name=":0" />


* [[Musée d'Orsay|Musée D'Orsay]]<ref>{{Cite book |last=Musée d'Orsay |title=A History of Photography: The Musée D'Orsay Collection, 1839-1925 |publisher=Flammarion |isbn=9782080300928 |editor-last=Heilbrun |editor-first=Françoise |location=Norway |pages=57}}</ref>
⚫
== Exhibitions ==

⚫
* 1996, 31 October—2 February 1997: ''Un Magicien De L'image = Zauberkünstler Mit Bildern''. Musée Suisse De L'appareil Photographique<ref>{{Cite book |last=Ponti |first=Carlo |title=Un Magicien De L'image = Zauberkünstler Mit Bildern : Exposition Au Musée Suisse De L'appareil Photographique Du 31 Octobre 1996 Au 2 Février 1997. |publisher=Museée Musée suisse de l'appareil photographique |year=1996 |isbn=9782970012801 |location=Vevey |language=fr}}</ref>


==References==
==References==

Revision as of 04:40, 23 February 2023

A beggar by Carlo Ponti
Carlo Ponti (1865) Venice. Doge's Palace and St. Mark's Column

Carlo Ponti (c.1823–1893) was a Swiss-born optician and photographer from Venice.[1][2]

Megalethoscope; invented by Charles Ponti, 1862–65

Early life

Carlo Ponti was born in Sagno in Canton Ticino between 1922-1824.[3] He moved as an adult to Paris to work for about five years in the Cauchoix studio before settling in Venice in 1852.

Career

Ponti opened an optician’s shop in Piazza San Marco 52,[4] producing high quality instruments for astronomy and physics and photographic lenses, especially those used for panoramas, for which he had sole rights, as well as selling products of other companies.[3]

As a photographer and editor Ponti distributed photographic prints, both his own and others, building a large clientele. On 30 May 1854 he was awarded a silver medal for his photographic equipment at the Esposizione Industriale Veneta. From this time he systematically photographed Venice and by 1855 had a catalogue of 160 photographic views of Venetian architecture (Guida fotografica illustrata della città di Venezia), each captioned with historical and aesthetic information, supported by an introductory history of Venetian architecture, which was awarded at the Universal Exhibition in Paris in 1855. He published and distributed postcards, stereographs and travel photographs of Venice and its art and architecture on an industrial scale, issuing thousands of prints a month made by hundreds of employees. Tourists' collections of such photographic ‘spolia’ were preserved in their own photographic albums, and such distribution popularised classical and Renassiance Italian art.[3]

In this industry he collaborated with Francesco Maria Zinelli and Giuseppe Beniamino Coen and provided an outlet for other studio operators such as Antonio Perini, Carlo Naya, and Domenico Bresolin, who, on attaining the chair in landscape at the Accademia, transferred his studio and archive to Ponti.[3] Ponti distributed their work with his own stamp, so that attribution is often disputed; Perini was probably the author of some of the photographs in the catalogue Ponti presented at the Exposition Universelle in Paris in 1855.

In 1866 Carlo Ponti became official photographer to King Victor Emanuel II of Italy, when Venice was incorporated in the Italian nation. This prestige brought further business in other cities including Paris, London, Liverpool, Berlin, Stuttgart, Lyons, New York, Chicago, Philadelphia, Boston, Montreal, and San Francisco.[3]

Inventor

Ponti was an optician to and inventor of a sophisticated version of the peep show, the alethoscope (from the Greek “true”, “exact” and “vision”) in 1860 which he presented to the Société française de photographie in 1861, then in April, to the Istituto di Scienze, Lettere ed Arti in Venice, earning an honourable mention there in May.[5] He obtained a patent in January 1862 and commenced marketing it. A larger version, the megalethoscope,[6] was produced for him by cabinetmaker Demetrio Puppolin, whose name is inscribed on different models, some highly decorated with pearl inlay and marquetry. His invention was awarded Grand Prix at the International Exhibition in London in 1862.[7]

Both devices enlarged photographic views through a wide, thick magnifying lens to create an illusion of their plasticity, perspective depth and modelling.[1][8] The albumen plates for some versions of the megalethoscope are curved with slotted wooden braces for optical correction of lens aberrations,[9] and pinprick perforations and mechanically thinned areas on the albumen prints have been made for viewing the photographic images under reflected and transmitted light to suggest day or night lighting, fantastic effects (diableries) and to add colours.[10][11]

After Ponti's rights to these devices lapsed after 1866, due to administrative confusion after the after the Third Italian War of Independence, when Venice, along with the rest of the Veneto, became part of the newly created Kingdom of Italy. Despite Ponte's illegals battles between 1868 and 1876 to prevent it, Carlo Naya began to manufacture and sell the Aletoscopio, which Ponti tree to counter by issuing variations of the instrument under other names including Amfoteroscopio, Dioramoscopio, Pontioscopio, Cosmorama Fotografico.[3]

Later life

Ponti retained his Swiss citizenship throughout his life. He published catalogues of his images, of Venice but also of other Italian cities, in 1855, 1864, 1866 and 1872.[12] He became totally blind during his latter years, and died in Venice on 16 November 1893.

Exhibitions

Posthumous

  • 1979: Fotografia italiana dell'Ottocento. Florence[12]
  • 1980: Fotografia italiana dell'Ottocento. Venice[12]
  • 1994, 23 September: Italien : Sehen und Sterben : Photographien zer Zeit des Risorgimento (1845-1870) exhibition organised by Agfa Foto-Historama. Römisch-Germanisches Museum, Köln[13]
  • 1995, 2 March–5 June: Italien : Sehen und Sterben : Photographien zer Zeit des Risorgimento (1845-1870). Reiss-Museum der Stadt Mannheim[13]
  • 1996, 31 October—2 February 1997: Un Magicien De L'image = Zauberkünstler Mit Bildern. Musée Suisse De L'appareil Photographique[14]

Collections

  • Museé Suisse de l’Appareil Photographique, Vevey: an example of the Megaletoscopio and albumen prints[3][15]
  • Fototeca della Soprintendenza per il Patrimonio Storico, Artistico e Demoetnoantropologico, Brera, Milan[3]
  • Museo di Storia della Fotografi a Fratelli Alinari, Florence[3]
  • Dietmar Siegert Collection, Münich[3]
  • Wilfried Wiegand Collection, Frankfurt am Main[3]
  • Department of Photography, J. Paul Getty Museum, Malibu[3]

References

  1. ^ a b The History of the Discovery of Cinematography, Chapter Ten: 1860-1869
  2. ^ Plant, Margaret (2002-01-01). Venice: Fragile City, 1797-1997. Yale University Press. ISBN 978-0-300-08386-6.
  3. ^ a b c d e f g h i j k l Paoli, Sylvia (2013). "Ponti, Carlo (c. 1822–1893) Optician and photographer". In Hannavy, John (ed.). Encyclopedia of Nineteenth-Century Photography. Routledge. pp. 1144–1146. ISBN 978-0-203-94178-2.
  4. ^ Becchetti, Piero (1978). Fotografi e fotografia in Italia 1839–1880 (in Italian). Rome: Quasar. pp. 124–125. ISBN 9788885020092.
  5. ^ Minici, Carlo Alberto Zotti (2001). Magic visions before the advent of the cinema (in Italian). Il poligrafo. ISBN 978-88-7115-299-8.
  6. ^ Carlo., Ponti, (1862). The megalethoscope, invented by Charles Ponti, optician & photographer. : Its object and use. C. Ponti. OCLC 79947651.{{cite book}}: CS1 maint: extra punctuation (link) CS1 maint: multiple names: authors list (link)
  7. ^ Ponti Carlo. Charles Ponti Opticien Et Photographe De S.m. Le Roi D'italie : Inventeur Et Fabriquant De L'alethoscope ... : Place S.l Marc N. 52. Venise Riva Degli Schiavoni (Quai) N. 4180. C. Ponti 1862. Advertisement for Ponti's photographs of Venice and Italy. Wood-engraved ill. of the medal awarded Ponti at the London International Exhibition of 1862. Printed on gray wove paper
  8. ^ Verwiebe, Birgit (September 1995). "L'illusione nel tempo e nello spazio. Il megaletoscopio di Carlo Ponti, un apparecchio fotografi co degli anni 1860". Fotologia (in Italian). 16/17 (Autumn/Winter 1995): 53–61.
  9. ^ Heylen, Sylke; Maes, Herman (1999). "Megalethoscope Plates: A Case Study: Conservation Treatment of Megalethoscope plates from the Collection of the Museum for Art and History". Topics in Photographic Preservation. 8: 23–30.
  10. ^ Dune, Corinne (1 September 1996). "La photographie en spectacle : traitements de papiers albuminés peints transparents". Coré (in French). 1 (1996): 26–30. ISSN 1277-2550. OCLC 886969366.
  11. ^ Iglesias, Rodrigo Martín (2011). "A través de la pantalla". Jornadas Nacionales de Investigación en Arte en Argentina. VIII (2011). La Plata.
  12. ^ a b c Prandi, Alberto (1979). "Carlo Ponti". In Miraglia, Marina (ed.). Fotografia Italiana Dell'ottocento. Electa ; Alinari 1979 (Catalogue of the exhibition held in Florence, 1979 and in Venice, 1980) (in Italian). Alinari, Milano, Firenze: Electa. pp. 172–174. OCLC 6358323.
  13. ^ a b Schuller-Procopovici, Karin; de Dewitz, Bodo; Siegert, Dietmar, eds. (1994). Italien : Sehen Und Sterben : Photographien Zer Zeit Des Risorgimento (1845-1870) : Eine Ausstellung Des Agfa Foto-Historama : Römisch-Germanisches Museum Köln 23. September 1994-4. Dezember 1994 : Reiss-Museum Der Stadt Mannheim 2. März-5. Juni 1995. Braus 1994 (in German). Heidelberg: Braus. ISBN 9783894661014. OCLC 799565437.
  14. ^ Ponti, Carlo (1996). Un Magicien De L'image = Zauberkünstler Mit Bildern : Exposition Au Musée Suisse De L'appareil Photographique Du 31 Octobre 1996 Au 2 Février 1997 (in French). Vevey: Museée Musée suisse de l'appareil photographique. ISBN 9782970012801.
  15. ^ "The Megaletoscope of Carlo Ponti | Camera Museum". www.cameramuseum.ch. Retrieved 2023-02-23.
  16. ^ Musée d'Orsay. Heilbrun, Françoise (ed.). A History of Photography: The Musée D'Orsay Collection, 1839-1925. Norway: Flammarion. p. 57. ISBN 9782080300928.
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