about the camera obscura with convex lenses. He explained how the camera obscura could be used by painters to achieve perfect perspective in their work. He also complained how charlatans abused the camera obscura to fool witless spectators and make them believe that the projections were magic or occult science. These writings were published in a posthumous version of La Perspective Curieuse (1652). 1650 to 1800: Introduction of the magic lantern, popular portable box-type drawing aid, painting aid The use of the camera obscura to project special shows to entertain an audience seems to have remained very rare. A description of what was most likely such a show in 1656 in France, was penned by the poet Jean Loret, who expressed how rare and novel it was. The Parisian society were presented with upside-down images of palaces, ballet dancing and battling with swords. Loret felt somewhat frustrated that he did not know the secret that made this spectacle possible. There are several clues that this may have been a camera obscura show, rather than a very early magic lantern show, especially in the upside-down image and Loret's surprise that the energetic movements made no sound. German Jesuit scientist Gaspar Schott heard from a traveler about a small camera obscura device he had seen in Spain, which one could carry under one arm and could be hidden under a coat. He then constructed his own sliding box camera obscura, which could focus by sliding a wooden box part fitted inside another wooden box part. He wrote about this in his 1657 Magia universalis naturæ et artis (volume 1 – book 4 "Magia Optica" pages 199–201). By 1659 the magic lantern was introduced and partly replaced the camera obscura as a projection device, while the camera obscura mostly remained popular as a drawing aid. The magic lantern can be regarded as a (box-type) camera obscura device that projects images rather than actual scenes. In 1668, Robert Hooke described the difference for an installation to project the delightful "various apparitions and disappearances, the motions, changes and actions" by means of a broad convex-glass in a camera obscura setup: "if the picture be transparent, reflect the rays of the sun so as that they may pass through it towards the place where it is to be represented; and let the picture be encompassed on every side with a board or cloth that no rays