Condition: see scans of the front and backside.
Lake Maggiore (UK: /mæˈdʒɔːreɪ, ˌmædʒiˈɔːreɪ/, US: /mɑːˈdʒɔːreɪ, məˈdʒɔːri/; Italian: Lago Maggiore [ˈlaːɡo madˈdʒoːre]; Western Lombard: Lagh Maggior; Piedmontese: Lagh Magior; literally 'Greater Lake') or Verbano (pronounced [verˈbaːno]; Latin: Lacus Verbanus) is a large lake located on the south side of the Alps. It is the second largest lake in Italy and the largest in southern Switzerland. The lake and its shoreline are divided between the Italian regions of Piedmont and Lombardy and the Swiss canton of Ticino. Located halfway between Lake Orta and Lake Lugano, Lake Maggiore extends for about 65 kilometres (40 miles) between Locarno and Arona.
The climate is mild in both summer and winter, producing Mediterranean vegetation, with many gardens growing rare and exotic plants. Well-known gardens include those of the Borromean and Brissago Islands, that of the Villa Taranto in Verbania, and the Alpinia Botanical Garden above Stresa.
Lake Maggiore is drained by the Ticino, a main tributary of the Po. Its basin also collects the waters of several large lakes, notably Lake Lugano (through the Tresa), Lake Orta (through the Toce) and Lake Varese (through the Bardello).
Il Lago Maggiore o Verbano (Lagh Magior in piemontese e Lagh Maggior in lombardo) è un lago prealpino di origine fluvioglaciale che si estende fra la Svizzera e l'Italia. Le sue rive sono condivise tra Svizzera (Canton Ticino) e Italia (province di Verbano-Cusio-Ossola e Novara, in Piemonte, e Varese, in Lombardia).
Il suo nome "Maggiore" deriva dal fatto che è il più grande tra i laghi della zona[1], ma in realtà fra i laghi italiani è il secondo per superficie dopo il lago di Garda e il secondo per profondità dopo il lago di Como. In passato era unito al lago di Mergozzo, da cui fu separato a causa della formazione della Piana di Fondotoce.
The idea for stereoview photographs (also known as stereoscopic photographs, stereographs, or, simply, views) was hatched long before their invention, and even well prior to the first
photographs. In the early 17th century, three separate men, Giovanni Battista della Porta, Jacopo Chimenti da Empoli, and Francois d’Aguillion, made drawings, or allusions to, what would eventually become the stereoscope or stereo viewer. What these men envisioned essentially became a reality when the stereoscope was finally introduced in the early 19th century. Stereoscopes use two nearly-identical images, each taken a few inches to the side of the other. When viewed through two lenses set 2.5 inches apart, approximately the space between the eyes, the result is the illusion of a three-dimensional picture. In fact, stereoscopes are seen as the precursors to 3D entertainment. Much of the three-dimensional technology of today is based on the simple principles that allow the stereoscope to function. Sir David Brewster often gets the credit for inventing stereoscopes, but he first designed the box-shaped viewer. The first stereoscope was actually introduced in 1833 by Sir Charles Wheatstone in Great Britain. At that time, photographs did not exist, so drawings were used instead. By the 1850s, photography was possible so stereoscopes began featuring this new technology. Because the stereoscope preceded the publication of photographs in
newspapers and
magazines, stereo viewers were seen as forms of entertainment. People would pass around the stereoscope and see all sorts of beautiful scenes that they otherwise might never have been introduced to. In 1859 Oliver Wendell Holmes, Sr. (his son was the Supreme Court judge) invented a handheld stereograph viewer which was later manufactured by Joseph L. Bates in Massachusetts. These antique stereographs are highly sought-after today. Before stereoviews caught on in the United States, however, they were popular in the United Kingdom and other parts of Europe. Roger Fenton was an early stereoview photographer, as was Jules Duboscq, who made
daguerreotype stereographs popular. At the same time
tintype and albumen photographs were being used in stereoscopes. In fact, the vintage photographs that were placed inside stereoscopes are even more collectible than the devices themselves. The list of themes for these pictures is limitless, and they provide a wonderful window into late-19th and early-20th-century culture. One of the most popular genres was
railroad photos. Rail transportation was developing alongside photographic innovation, so many people that never rode the rails could at least see them through a stereoscope. One of the leading railroad and Western stereoview photographers was Carleton Watkins. Other views included mines, landscapes, automobiles, and, of course, nudes. In the United States, stereoviews allowed people living on the East Coast to see the West Coast, and vice versa. By the latter half of the 19th century, many towns had their own resident stereoview photographer, which means there were plenty of local subjects available for people with stereoscopes to go with the images of far-off lands. Several companies emerged as publishers and distributors of stereoviews on every imaginable subject, the biggest and most successful in the United States being the Keystone View Company of Meadville, Pennsylvania. The most prolific maker of views, however, was probably the London Stereoscope Company, founded in the early 1850s. It produced hundreds of thousands of views, as well as some portraits. Its peak was the 1850s, which was the height of the stereoscope craze in the United Kingdom. The company remained strong through the next few decades before fizzling in the 1920s. It has since reopened, with its new owners making an attempt to reintroduce the popularity of stereoscopes into today’s digital world.
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