ABSTRACT This essay tells the story of the invention and disappearance of the crystal cube miniature, the first practicable form of autostereoscopic photography. When the British engraver and studio photographer Henry Swan unveiled his patented invention at the September 1863 meeting of the British Association for the Advancement of Science, there was every reason to expect he had a commercial success on his hands. These hand-colored photographs encased in glass and endowed with a startling illusion of depth and relief spoke to the appetites for realism, technological novelty, and tactility in mid-nineteenth-century British visual culture. So why did the crystal cube miniature disappear by the end of the decade and find itself erased from public memory by the end of the century? Why have most scholars of Victorian visual culture never heard of the crystal cube miniature? Through a close analysis of a single example of the medium, ‘Portrait of Sarah Bennett’ (ca. 1862) that situates this object in a media archaeology of 1860s visual technologies of portraiture and stereoscopy, I attribute the crystal cube miniature’s commercial failure to its layered effects of verisimilitude and spectrality, which disrupted Victorian conventions of pictorial and optical spectatorship.
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