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diff --git a/40215.txt b/40215.txt deleted file mode 100644 index 27abb28..0000000 --- a/40215.txt +++ /dev/null @@ -1,2818 +0,0 @@ -Project Gutenberg's Descriptive Zoopraxography, by Eadweard Muybridge - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Descriptive Zoopraxography - or the science of animal locomotion made popular - -Author: Eadweard Muybridge - -Release Date: July 11, 2012 [EBook #40215] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK DESCRIPTIVE ZOOPRAXOGRAPHY *** - - - - -Produced by Mark C. Orton, Keith Edkins and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - -[Illustration] - -DESCRIPTIVE - -ZOOPRAXOGRAPHY - -OR THE SCIENCE OF ANIMAL LOCOMOTION -MADE POPULAR - -BY - -EADWEARD MUYBRIDGE - -WITH SELECTED OUTLINE TRACINGS REDUCED FROM SOME OF -THE ILLUSTRATIONS OF - -"ANIMAL LOCOMOTION" - -AN ELECTRO-PHOTOGRAPHIC INVESTIGATION OF CONSECUTIVE -PHASES OF ANIMAL MOVEMENTS, COMMENCED 1872, -COMPLETED 1885, AND PUBLISHED 1887, -UNDER THE AUSPICES OF THE - -UNIVERSITY OF PENNSYLVANIA - - * * * * * - -PUBLISHED AS A MEMENTO OF A SERIES OF LECTURES GIVEN BY THE AUTHOR -UNDER THE AUSPICES OF THE UNITED STATES -GOVERNMENT - -BUREAU OF EDUCATION - -AT THE - -WORLD'S COLUMBIAN EXPOSITION, IN ZOOPRAXOGRAPHICAL HALL - -1893 - - * * * * * - -UNIVERSITY OF PENNSYLVANIA -1893 - - * * * * * - -COPYRIGHTED, 1893, -BY -EADWEARD MUYBRIDGE - -The Lakeside Press -R. R. DONNELLEY & SONS CO., CHICAGO - - * * * * * - -SOME OF THE SUBSCRIBERS -TO -"ANIMAL LOCOMOTION." -THE ORIGINAL AUTOGRAPHS ARE ON THE SUBSCRIPTION BOOK -IN THE POSSESSION OF THE AUTHOR. - -[Illustration] - - * * * * * - - -[Illustration] - -PREFACE. - -In the summer of 1892 while the Author was in California, preparing for a -Lecturing tour through Australia and India, he received an invitation from -the Fine Arts Commission of the World's Columbian Exposition to give a -series of Lectures on ZOOPRAXOGRAPHY in association with the Exposition now -being held in Chicago. - -As these Lectures under the more familiar title of "The Science of Animal -Locomotion in Its Relation to Design in Art" had already been given at -nearly all the principal Institutions of Art, Science and Education in -Europe and in the United States, (see appendix A) the Author was induced to -believe that they might be repeated in a popular manner at the Exposition, -with some appreciation of the importance of the facts which his -investigation has revealed, not merely by the student of Nature or of Art, -but by that large and important class of students, known as the general -public. - -Under this impression he delayed his far Occidental expedition and returned -to Chicago to find a commodious theater erected for this special purpose on -the grounds of the Exposition, to which the name of Zoopraxographical Hall -had been given; the Science of Zoopraxography having had its origin in the -Author's first experiments in 1872. It is not intended in this monograph to -give more than a synopsis of the usual course of Lectures on the subject, -nor to reproduce any of the pictured or sculptured representations which -are necessary for its proper elucidation, but merely to describe the common -methods of limb action adopted by quadrupeds--especially by the horse--in -their various acts of progressive motion, and to illustrate the most -important phases of these movements by tracings from the original -photogravures of the Author's work. - -In the presentation of a Lecture on Zoopraxography the course usually -adopted is to project, much larger than the size of life upon a screen, a -series of the most important phases of some act of animal motion--the -stride of a horse, while galloping for example--which are analytically -described. These successive phases are then combined in the Zoopraxiscope, -which is set in motion, and a reproduction of the original movements of -life is distinctly visible to the audience. - -With this apparatus, horse-races are reproduced with such fidelity that the -individual characteristics of the motion of every animal can readily be -seen; flocks of birds fly across the screen with every movement of their -wings clearly perceptible; two gladiators contend for victory with an -energy which would cause the arena to resound with wild applause, athletes -turn somersaults, and other actions by men, women and children, horses, -dogs, cats and wild animals, such as running, dancing, jumping, trotting -and kicking, are illustrated in the same manner. By this method of analysis -and synthesis the eye is taught how to observe and to distinguish the -differences between a true and a false impression of animal movements. The -Zoopraxiscopical exhibition is followed by illuminated copies of paintings -and sculptures, demonstrating how the movement has been interpreted by the -Artists of all ages; from the primitive engravers of the cave dwelling -period, to the most eminent painters and sculptors of the present day. - - * * * * * - -INTRODUCTION. - -In the year 1872, while the Author was engaged in his official duties as -Photographer of the United States Government for the Pacific coast, there -arose in the city of San Francisco one of those controversies upon Animal -Locomotion, which has engaged the attention of mankind from the dawn of -symbolical design, to the present era of reformation in the artistic -expression of animal movements. - -The subject of this particular dispute was the possibility of a horse -having all of his feet free of contact with the ground at the same instant, -while trotting, even at a high rate of speed, and the disputants were Mr. -Frederick MacCrellish and the Hon. Leland Stanford. - -The attention of the Author was directed to this controversy and he -immediately sought the means for its settlement. - -At this time the rapid dry plate had not yet been evolved from the -laboratory of the chemist, and the problem before him was to develop a -sufficiently intense and contrasted image upon a wet collodion plate, after -an exposure of so brief a duration that a horse's foot moving with a -velocity of more than a hundred lineal feet in a second of time, should be -photographed practically "sharp." - -A few days' experimenting and about a dozen negatives, with a celebrated -fast trotter--"Occident"--as a model, while trotting at the rate of a mile -in two minutes and sixteen seconds, laterally in front of the camera, -decided the argument for once and for all time in favor of those disputants -who held the opinion that a horse while trotting was for a portion of his -stride entirely free from contact with the ground. With a knowledge of the -fact that some horses while trotting will make a stride of twenty feet or -more in length, it is difficult to understand why there should ever have -been any difference of opinion on the subject. - -These first experiments of Zoopraxography were made at Sacramento, -California, in May, 1872. A few impressions were printed from the selected -negative for private distribution, and were commented upon by the "Alta -California," a newspaper published in San Francisco. - -Thus far the photographs had been made with a single camera, requiring a -separate trotting for each exposure. The horse being of a dark color and -the background white, the pictures were little better than silhouettes, and -it was difficult to distinguish, except by inference, the right feet from -the left. - -Several phases of as many different movements had been photographed, which -the Author endeavored with little success to arrange in consecutive order -for the construction of a complete stride. - -It then occurred to him that if a number of cameras were placed in a line, -and exposures effected successively in each, with regulated intervals of -time or of distance, an analysis of one single step or stride could be -obtained which would be of value both to the Scientist and the Artist. - -The practical application of this system of photographing required -considerable time for its development, and much experimenting with -chemicals and apparatus. - -It being desirable that the horses used as models should be representatives -of their various breeds, and the Author not being the owner of any that -could be fairly classed as such, obtained the cooperation of Mr. Stanford, -who owned a fine stud of horses at his farm at Palo Alto, and there -continued his labors. - -The apparatus used at this stage of the investigation was essentially the -same as that subsequently constructed for the University of Pennsylvania, -the arrangement of which will be described further on. - -Some of the results of these early experiments which illustrated successive -phases of the action of horses while walking, trotting, galloping, &c., -were published in 1878, with the title of "The Horse in Motion." Copies of -these photographs were deposited the same year in the Library of Congress -at Washington, and some of them found their way to Berlin, London, Paris, -Vienna, &c., where they were criticized by the journals of the day. - -In 1882 the Author visited Europe and at a reception given him by Monsieur -Meissonier was invited by that great painter to exhibit the results of his -labors to his brother Artists who had assembled in his studios for that -purpose. M. Meissonier was the first among Artists to acknowledge the value -to Art design of the Author's researches; and upon this occasion, alluding -to a full knowledge of the details of a subject being necessary for its -truthful and satisfactory translation by the Artist, he declared how much -his own impression of a horse's motion had been changed after a careful -study of its consecutive phases. - -It is scarcely necessary to point out, in confirmation of M. Meissonier's -assertions, the modifications in the expression of animal movements now -progressing in the works of the Painter and the Sculptor, or to the fact of -their being the result of studious attention to the science of -Zoopraxography. - -In the same year, during a lecture on "The Science of Animal Locomotion in -Its Relation to Design in Art," given at the Royal Institution (see -_Proceedings_ of the Royal Institution of Great Britain, March 13, 1882), -the author exhibited the results of his experiments at Palo Alto, when he, -with the Zoopraxiscope and an oxy-hydrogen lantern, projected on the wall a -synthesis of many of the actions he had photographed. - -It may not be considered irrelevant if he repeats what he on that occasion -said in his analysis of the quadrupedal walk:-- - -"So far as the camera has revealed, these successive foot fallings are -invariable, and _are probably common to all quadrupeds_.... - -"It is also probable that these photographic investigations--which were -executed with wet collodion plates, with exposures not exceeding in some -instances the one five-thousandth part of a second--will dispel many -popular illusions as to the gaits of a horse, and future and more -exhaustive experiments, with the advantages of recent chemical discoveries, -will completely unveil all the visible muscular action of men and animals -even during their most rapid movements.... - -"The employment of automatic apparatus for the purpose of obtaining a -regulated succession of photographic exposures is too recent for it to be -generally used for scientific experiment or for its advantages to be -properly appreciated. At some future time the philosopher will find it -indispensable for many of his investigations." - -The great interest manifested in the results of his preliminary labors -convinced the Author that a comprehensive and systematic investigation with -improved mechanical appliances, and newly-discovered chemical -manipulations, would demonstrate many novel facts, not only interesting to -the casual observer, but of indisputable value to the Artist and to the -Scientist. This investigation and the subsequent publication in the -elaborate manner determined upon, assumed such imposing proportions, and -necessarily demanded so large an expenditure, that all publishers, not -unnaturally, shrank from entering the unexplored field. - -In this emergency, through the influence of its Provost, Dr. William -Pepper, the University of Pennsylvania with an enlightened exercise of its -functions as a contributor to human knowledge, instructed the Author to -make, under its auspices, a comprehensive investigation of "Animal -Locomotion" in the broadest significance of the words, (see appendix B) and -some of the Trustees and friends of the University constituted themselves a -committee for the purpose of promoting the execution of the work. These -gentlemen were Dr. William Pepper, Chas. C. Harrison, J. B. Lippincott, -Edw. H. Coates, Samuel Dickson and Thomas Hockley. - -The Author acknowledges his obligations to these gentlemen for the interest -they took in his labors; for without their generous assistance the work -would probably never have been completed; the total amount expended--nearly -forty thousand dollars--being entirely beyond his own resources. To Drs. F. -X. Dercum, Geo. F. Barker and Horace Jayne, of the University, the Author -is also indebted for much valuable assistance. - -[Illustration: Diagram of the Studio at The University of Pennsylvania, and -Arrangement of the Apparatus for Investigating Animal Locomotion.] - -STUDIO, APPARATUS, AND METHOD OF WORKING. - -For a proper appreciation of the care taken in the Investigation of Animal -Locomotion at the University of Pennsylvania to ensure accurate record of -the consecutive phases of the various movements, attention to the system -adopted is necessary. - -In the diagram, B is the _Lateral_ background; consisting of a shed 37 -metres or about 120 feet, long, the front of which is open, and divided by -vertical and horizontal threads into spaces 5 centimetres, or about 2 -inches, square, and by broader threads into larger spaces 50 centimetres, -or about 19-3/4 inches, square. - -At C and C, 37 metres, or about 120 feet, apart are "_fixed_" backgrounds, -with vertical threads 5 centimetres, or about two inches, from their -centres, with broader threads 30 centimetres, or about 12 inches, from -their centres. - -For some investigations, readily distinguishable in the plates, -"_portable_" backgrounds are used, consisting of frames 3 metres wide by 4 -metres high,--about 10 feet by 13 feet 4 inches,--over some of which black -cloth and over others white cloth is stretched, all being divided by -vertical and horizontal lines into square spaces of the same description as -those of the lateral background. - -These portable backgrounds are used when photographing birds and horses, -and also wild animals when possible to do so. - -L. A lateral battery of 24 automatic electro-photographic cameras, arranged -parallel with the line of progressive motion, and usually placed therefrom -about 15 metres or 49 feet. - -Slow movements are usually photographed with lenses of 3 inches diameter -and 15 inches equivalent focus; the centres of the lenses being 15 -centimetres, or about 6 inches, apart. - -Rapid movements are usually photographed with a _portable_ battery of -cameras and smaller lenses. - -The centre, between lenses 6 and 7, is opposite the centre of the track T. - -For illustrations comprising both "Laterals" and "Foreshortenings," cameras -1 to 12 only are used. - -When "Laterals" alone are required, cameras 13 to 24 are connected with the -system and used in their regular sequence. - -R. A portable battery of 12 automatic electro-photographic cameras, the -lenses of which are 1-1/4 inches diameter and 5 inches equivalent focus; -the lenses are arranged 7-1/2 centimetres, or about 3 inches, from their -centres. When the battery is used vertically, lens 6 is usually on the same -horizontal plane as the lenses of the lateral battery. - -In the diagram this battery is arranged _vertically_ for a series of "Rear -Foreshortenings," the points of view being at an angle of 90 degrees from -the lateral battery. - -F. A battery of 12 automatic electro-photographic cameras, similar to that -placed at R, arranged horizontally for "Front Foreshortenings," the points -of view averaging an angle of 60 degrees from the lateral battery. - -O. The position of the operator; the electric batteries; the chronograph -for recording the intervals of time between each successive exposure; the -motor for completing the successive electric circuits, and other apparatus -connected with the investigation. - -T T. The track parallel with the lateral battery and covered with -corrugated rubber flooring. - -M. The model, approaching the point number "1" on the track where the -series of photographic illustrations will commence. - -An estimate having been made of the interval of time which will be -required, between each photographic exposure, to illustrate the complete -movement, or that portion of the complete movement desired, the apparatus -is adjusted to complete a succession of electric circuits at each required -interval of time, and the motor is set in operation. When the series is to -illustrate _progressive_ motion; upon the arrival of the model at the point -marked "1" on the track, the operator, by pressing a button, completes an -electric circuit, which immediately throws into gearing a portion of the -apparatus hitherto at rest. By means of suitably arranged connections, an -electric current is transmitted to each of the 3 cameras marked "1" in the -various batteries, and an exposure is simultaneously made on each of the -photographic plates, respectively, contained therein. At the end of the -predetermined interval of time, a similar current is transmitted to each of -the cameras marked "2," and another exposure made on each of the 3 next -plates, and so forth until each series of exposures in each of the three -batteries is completed. Assuming the operator to have exercised good -judgment in regulating the speed of the apparatus, and in making the first -electric contact at the proper time, and that the figures 1 to 12 represent -the distance traversed by the model in executing the movement desired, the -first three photographic exposures--that is, one exposure in each -battery--will have been synchronously made when the model was passing the -position marked "1" on the track T; the second three exposures will have -been made when the model was passing the position marked "2," and so on -until twelve successive exposures were simultaneously made in each of the -three batteries. This perfect uniformity of time, speed, and distance, -however, was not always obtained. - -When this monograph was commenced it was not intended by the author to give -any more than a general idea of the method adopted for obtaining the -results of his investigation; it has, however, been considered that a few -illustrations and brief description of the apparatus devised and used by -him may not be without interest to other students. - -For the use of these illustrations he is indebted to the courtesy of Rev. -Jesse Y. Burk, the Secretary of the University, and to J. B. Lippincott -Company, the publishers of "The Muybridge Work at the University of -Pennsylvania," a book which contains, among other essays upon the subject, -"Materials for a Memoir on Animal Locomotion, by Harrison Allen, M. D.," -and "A Study of Some Normal and Abnormal Movements, by Francis X. Dercum, -M.D., Ph.D." - -Figure 1 is a view of the building containing the lateral battery of -twenty-four photographic cameras, all of which were used when as many -consecutive phases of an act of motion were required. - -[Illustration: Fig. 1.] - -Immediately in front of each of these cameras, and detached therefrom, was -placed an electro-photographic exposor, a side section of which is -represented by Figure 2, in which A is a continuous band of thin rubber -cloth impervious to light; the edges of which are bound with strong tape, -and arranged to run in a groove, and over two rollers RR which are attached -to a frame. - -In this endless band are two apertures OO of suitable size, and so arranged -that their full openings as they pass each other shall simultaneously take -place in front of the center of the lens L. - -The upper and lower edges of these apertures are kept taut by light steel -rods attached to the tape binding. - -To the lower rod of the front aperture is fastened a ring C and a cleat, to -which some elastic rubber bands B are attached; these bands are easily -removable and their number increased at discretion; in some instances of -rapid exposures a tension of twenty-five pounds or more was required. On a -shelf of the frame is a magnet M, over the top of which is arranged a steel -lever G pivoted near the end D which terminates with a slightly indented -projection. - -[Illustration: Fig. 2.] - -The armature of the magnet is pivoted at H; its upper arm terminates with a -shoulder I. S is a spring to prevent the accidental shifting of the -shoulder from its contact with the lever when the exposor is ready for its -function. N is a set screw to adjust the distance of the armature from the -magnet. To prepare for a series of photographic exposures--the plates -having been already placed in the cameras--the end of the lever G is placed -under the shoulder I; the endless curtain is revolved until the front -aperture O is raised to its proper position, when the ring C is hooked upon -the projecting point D. A cord attached to the rubber bands B is drawn -around the pulley P, and a ring at its end is slipped over a pin, which -keeps the spring at a proper state of tension. Upon the completion of an -electric circuit the armature is drawn towards the magnet; the end of the -lever is released from its contact with the shoulder; the ring C is -released from the projecting point D; the front of the endless curtain is -drawn rapidly downward; the apertures meet in the center of the lens, form -a gradually expanding and then contracting diaphragm, and the exposure is -made. A front view of three electro-photographic exposors is seen in Figure -3. The first of these represents the exposor set and ready for an exposure; -the second shows the meeting of the apertures at the commencement of an -exposure; the third, their position near the completion of the exposure, -they having in the meanwhile uncovered the lens to their full capacity. - -[Illustration: Fig. 3.] - -Figure 4 illustrates a portable battery of twelve electro-photographic -exposors; it consists of a rectangular box divided into compartments, open -at the front and rear. - -[Illustration: Fig. 4.] - -In twelve of these compartments are arranged rollers, curtains, magnets, -etc., as previously described, and a compartment through which a focusing -lens is used. The two end compartments provide for the adjustment of the -camera, which is supported in the box to the rear of the exposing -arrangements. A cable of insulated wires for connecting the twelve magnets -with the exposing motor, contains a wire for the return current. As seen in -the engraving, seven of the magnets by the passage of their respective -currents have completed their releasing operations. In the eighth -compartment the two apertures in the exposing band are in the act of -effecting an exposure. The remaining four magnets are awaiting their turn -for action. - -Figure 5 is a photographic camera divided into thirteen compartments, each -having a lens of the same construction, and the same focal length; these -are arranged to correspond with the compartments in the electro-exposors. - -One of the lenses is provided with a focusing screen, and with it the other -twelve lenses are adjusted to a proper focus without removing the plate -holder behind them from its position in the camera. - -The plate holder is constructed to hold three dry plates, each three inches -by twelve inches; the front is divided into twelve compartments, each three -inches square. - -[Illustration: Fig. 5.] - -Light is excluded from the front by a roller blind, strengthened by thin -narrow slats of hard wood; the blind works in grooves, is drawn over a -concealed roller, and covers the back of the holder when the plates are -being exposed. - -Figure 6 is a rear and side view of the circuit maker, conventionally -called the exposing motor. - -The motive power is an adjustable weight attached to a cord which is wound -around a drum. Twenty-four binding posts are attached to the table at the -back of the exposing motor; other binding posts are arranged for return or -other currents. - -Figure 7 illustrates a front and side view of the upper part of the -exposing motor. Fastened to the frame is a ring of hard rubber, in which -are inserted twenty-four insulated segments of platinum-coated brass; these -segments are connected by insulated wires to the twenty-four binding posts -on the back of the motor table, figure 6. - -[Illustration: Fig. 6.] - -A shaft, connected by an arrangement of geared wheels to the drum, passes -through the center of the segmented ring and carries a loose collar; a -stout metal rod is firmly attached near its longitudinal center to this -loose collar. One arm of the rod carries a laminated metal scraper, or -contact brush, arranged to travel around the periphery of the ring, and in -its revolution to make contact with each segment in succession. The contact -brush is connected through the arm with one pole of the battery; and each -segment--through its independent wire and magnet of the -electro-exposors--with the other pole. - -[Illustration: Fig. 7.] - -[Illustration: Fig. 7.] - -When twenty-four consecutive phases of an act of motion are to be -photographed from one point of view, all of the insulated segments in the -ring are put in circuit. When twelve consecutive phases are to be -photographed synchronously from each of three points of view, each -alternate segment is placed in circuit with the electric battery. - -The manner in which the series of synchronous exposures is effected will be -readily understood by reference to the diagram, 8. - -[Illustration: Fig. 8.] - -All being in readiness, and the weights and fan wheel adjusted to cause the -contact brush to sweep over the periphery of the ring at the required rate -of speed, the drum, and with it the shaft is set in motion. - -At the proper time, pressure on a button completes an independent circuit -through the magnet seen below the segmented ring, figure 7, and in the side -diagram of figure 8. - -The action of the armature releases the lower end of the rod on the loose -collar, which, by means of a coiled spring, is immediately thrown into -gearing with the already revolving shaft; the contact brush sweeps around -the segmented ring and effects the consecutive series of exposures at the -pre-arranged intervals of time. - -At the University the intervals varied from the one-sixtieth part of a -second to several seconds. - -A record of these time intervals was kept by a chronograph, a well known -instrument; it comprises a revolving drum carrying a cylinder of -smoke-blackened paper, on which, by means of successive electric contacts, -a pencil is caused to record the vibrations of a tuning fork, while a -second pencil marks the commencement of each photographic exposure. The -number of vibrations occurring between any two successive exposures marks -the time. The tuning fork used made one hundred single vibrations in a -second of time. To ensure greater minuteness and accuracy in the record, -the vibrations were divided into tenths, and the intervals calculated in -thousandths of a second. - -For the purpose of determining the synchronous action of the -electro-exposors while making a double series of exposures, the accuracy of -the time intervals as recorded by the chronograph, and the duration of the -shortest photographic exposures used in the investigation, the two -batteries of portable cameras were placed side by side, and the exposors -were each connected with the exposing motor by separate lengths of a -hundred feet of cable. The two series of cameras were pointed to a rapidly -revolving disc of five feet diameter. The surface of the disc was black, -with narrow white lines radiating from the center to the edge like the -spokes of a wheel. A microscopic examination of the two series of resulting -negatives proved that no variation could be discovered in the synchronous -action of ten of the duplicated series of exposures, and that in the -remaining two a variation existed in the simultaneity of a few -ten-thousandths of a second--a result sufficiently near to simultaneity for -all ordinary photographic work. - -[Illustration: Fig. 9.] - -A reproduction of the chronographic record of one of these experiments is -seen in figure 9. - -The first line records the revolution of the disc; the second the vibration -of the tuning fork; and each group of three long double markings in the -third line indicates a photographic exposure. - -The shortest exposures made at the University were--approximately--the one -six-thousandth part of a second; such brief exposures are however for this -class of investigation very rarely needed. - -Some horses galloping at full speed will, for a short distance, cover about -fifty-six or fifty-eight feet of ground in a second of time; a full mile -averaging perhaps a hundred seconds. At this speed, a foot recovering its -loss of motion will be thrust forward with an occasional velocity of at -least 120 lineal feet in a second of time. - -During the one one-thousandth part of a second the body of the horse will -at this rate move forward about seven one-tenths of an inch, and a moving -foot perhaps one and a half inches, not a very serious matter for the usual -requirements of the amateur photographer. - -A knowledge of the duration of the exposures, however, was in this -investigation of no value, and scarcely a matter of curiosity, the aim -always being to give as long an exposure as the rapidity of the action -would permit, with a due regard to the necessary sharpness of outline, and -essential distinctness of detail. - -The power used for operating the magnets, through the exposing motor, was -given from a le Clanche battery of fifty-four cells, arranged in multiple -arc of three series, each of eighteen cells. - -During the investigation at the University of Pennsylvania, more than a -hundred thousand photographic exposures were made. - -The negative plates were supplied by the Cramer Dry Plate Company of St. -Louis, and the positive plates by the Carbutt Company of Philadelphia. On a -favorable day five hundred or six hundred negatives were sometimes exposed; -on one day the number of exposures reached seven hundred and fifty. - -The electrical manipulations were directed by Lino F. Rondinella; the -development room was in charge of Henry Bell. The author takes pleasure in -acknowledging the skill, patience and energy which these gentlemen -exhibited in their respective fields of labor. - -Although the one six-thousandth part of a second was the duration of the -most rapid exposure made in this investigation, it is by no means the limit -of mechanically effected photographic exposures, nor does the one-sixtieth -part of a second approach the limit of time intervals. Marey, in his -remarkable physiological investigations, has recently made successive -exposures with far less intervals of time; and the author has devised, and -when a relaxation of the demands upon his time permit, will use an -apparatus which will photograph twenty consecutive phases of a single -vibration of the wing of an insect; even assuming as correct a quotation -from _Nicholson's Journal_ by Pettigrew in his work on Animal Locomotion -that a common house fly will make during flight seven hundred and fifty -vibrations of its wings in a second of time, a number probably far in -excess of the reality. - -The ingenious gentlemen who are persistently endeavoring to overcome the -obstacles in the construction of an apparatus for aerial navigation, will -perhaps some day be awakened by the fact that the only successful method of -propulsion will be found in the action of the wing of an insect. - -We will now resume the subject proper of this monograph. - -It is impossible within its limits to trace the history of the art of -delineating animals in motion, or to illustrate it with examples of the -truthful impressions of the primitive Artists, or of the imaginative and -erroneous conceptions of many of those of modern times. Certain phases of -the facts of Animal Locomotion will alone be treated upon, as demonstrated -by photographic research. - -The illustrations and condensed definitions of the various gaits were -prepared by the Author for the "Standard Dictionary." Before studying these -it is essential that the meaning of the terms _step_ and _stride_ should be -distinctly understood. - -A STEP is an act of progressive animal motion, in which one of the -supporting members of the body is thrust in the direction of the motion and -the support transferred, wholly, or in part, from one member to another. - -A STRIDE is an act of progressive animal motion, which, for its completion, -requires all of the supporting members of the body, in the exercise of -their proper functions, to be consecutively and regularly thrust in the -direction of the movement until they hold the same relative positions in -respect to each other as they did at the commencement of the notation. In -the bipedal walk or run a step is one-half of a stride or full round -movement. With all quadrupeds, except the kangaroo and other jumpers, -_four_ steps are necessary to complete the stride. - -THE WALK. - -The WALK is a method of progressive motion with a regular individual -succession of limb movements. In the evolution of the terrestrial -vertebrates the walk was probably the first adopted method of locomotion, -and its execution is regulated by the law that the movement of the -_superior_ limb precedes the movement of its lateral _inferior_ limb. This -is proved not merely by the _ordinary_ quadrupedal walk, but by the -suspended motion of the sloth; the crawling of the child upon the ground, -the erect walk of man; and the inverse limb movements of the ape tribe. - -The relative time intervals of the foot-fallings vary greatly with many -species of animals, and even with the same animal under different -conditions. - -Selecting the horse for the purpose of illustration we find that during the -walk--his slowest progressive movement--he has always two, and for a -varying period of time, or distance, three feet on the ground at once, -while during a very slow walk the support will devolve alternately upon -three feet and upon four feet. - -[Illustration: SOME CONSECUTIVE PHASES OF THE WALK.] - -If the notation of the foot-fallings commences with the landing of the -right hind foot, the order in which the other feet are placed upon the -ground will be: the right fore, the left hind, and the left fore, -commencing again with the right hind. - -Assuming that our observation of the stride of a horse during an ordinary -walk commences with the landing of the right hind foot, the body will then -be supported by both hind and the left fore feet. The left hind is now -lifted, the support of the body devolves upon the diagonals--the right hind -and left fore--and continues so supported until the left hind is in the act -of passing to the front of the right; when the right fore is next placed on -the ground. The left fore is now raised, and the body is supported by the -right laterals, until the landing of the left hind foot relieves its fellow -hind of a portion of its weight. Two steps or one-half of a stride have now -been made, and with the substitution of the right feet for the left, two -other steps will be executed in practically the same manner, and a full -stride will have been completed. We thus see that during the walk a -quadruped is supported by eight different methods, the supporting limbs -being consecutively: - -Both hind and left fore. - -Right hind and left fore _diagonals_. - -Right hind and both fore. - -Right hind and right fore _laterals_. - -Both hind and right fore. - -Left hind and right fore _diagonals_. - -Left hind and both fore. - -Left hind and left fore _laterals_. - -Followed as at the commencement with both hind and left fore. - -When, therefore, during a walk, a horse is supported on two legs, with two -feet suspended between them, each pair are laterals. On the other hand, -when the suspended feet are respectively in advance of, and behind the -supporting legs, each pair are diagonals. - -These invariable rules have been unknown or ignored by many distinguished -artists of modern times. - -THE AMBLE. - -The amble is a method of progressive motion with the same sequence of foot -fallings as the walk, but in which a hind foot or a fore foot is lifted -from the ground in advance of its fellow hind foot or its fellow fore foot -being placed thereon. The support of the body therefore devolves -alternately upon a single foot and upon two feet; the single foot being -alternately a hind foot and a fore foot, and the two feet being alternately -laterals and diagonals. At no time is the body entirely unsupported. - -The following series of illustrations will clearly demonstrate the -consecutive foot fallings and some characteristic phases of an ambling -stride: - -[Illustration: SOME CONSECUTIVE PHASES OF THE AMBLE.] - -The amble has various local names, such as the "single foot," the "fox -trot," etc. It has sometimes been erroneously confused with the rack or the -so-called "pace;" it is the most gentle and agreeable to the rider of all -methods of locomotion of the horse, while the rack is the most ungraceful -and disagreeable. - -In Scott's romances are many allusions to the "ambling palfry." Ben Jonson -in "Every Man in His Humor" speaks of going "out of the old hackney-pace to -a fine, easy amble," and Dickens in "Barnaby Rudge" refers to "the gray -mare breaking from her sober amble into a gentle trot." - -The ambling gait is natural to the elephant, and to the horse, the mule and -the ass; but in many countries these latter animals are not encouraged in -its use. - -THE TROT. - -The trot is a more or less rapid progressive motion of a quadruped in which -the diagonal limbs act nearly simultaneously in being alternately lifted -from and placed on the ground, and in which the body of the animal is -entirely unsupported twice during each stride. - -Selecting for the purpose of illustration the phases occurring during two -steps or one-half of a stride of 18 feet in length by a horse trotting at -the rate of a mile in two minutes and twelve seconds, we find that at the -instant his right fore foot strikes the ground, the left hind foot is a few -inches behind the point where it will presently strike. As the feet -approach the ground, the right hind leg is drawn forward with the pastern -nearly horizontal, while the left fore leg is flexed under the body. After -the feet strike the ground and the legs approach a vertical position the -pasterns are gradually lowered, and act as springs to break the force of -the concussion until they are sometimes bent to a right angle with the -legs. - -At this period the fore foot is raised so high as to frequently strike the -elbow, while the diagonal hind foot is comparatively but little above the -ground, and is about to pass to the front of the left hind. - -The pasterns gradually rise as the legs pass the vertical until the right -fore foot has left the ground and the last propelling force is being -exercised by the left hind foot; which accomplished, the animal is in mid -air. - -The right hind foot continues its onward motion until it is sometimes much -in advance of its lateral fore foot, the former, however, being gradually -lowered, while the latter is being raised. The right hind and both fore -legs are now much flexed, while the left hind is stretched backwards to its -greatest extent with the bottom of the foot turned upwards, the left fore -leg is being thrust forwards and gradually straightened, with the toe -raised as the foot approaches the ground; which accomplished, with a -substitution of the left limbs for the right, we find them in the same -relative positions as when we commenced our examination, and one-half of -the stride is completed. - -[Illustration: SOME CONSECUTIVE PHASES OF THE TROT.] - -With slight and immaterial differences, such as might be caused by -irregularities of the ground, these movements are repeated by the other -pair of diagonals, and the stride is then complete. - -If the stride of a trotting horse is divided into two portions, -representing the comparative distances traversed by the aggregate of the -body while the feet are in contact with, and while they are entirely clear -of, the ground, the relative measurements will be found to vary very -greatly, they being contingent upon length of limb, weight, speed, and -other circumstances. - -Heavily built horses will sometimes merely drag the feet just above the -surface, but, in every instance of a trot, the _weight_ of the body is -really unsupported twice during each stride. It sometimes happens that a -fast trotter, during the four steps of a stride, will have all his feet -clear of the ground for a distance exceeding one-half of the length of the -entire stride. Upon landing, a fore foot almost always precedes its -diagonal hind. - -It will be observed in the illustrations that while during the fast trot -the fore feet are lifted so high that they frequently strike the breast, -the hind feet are raised but little above the surface of the ground. The -trot is common to all the single-toed and to nearly all the cloven-footed -and soft-footed animals. It has, however, not been recorded as being -adopted by the elephant, the camel, or the giraffe. - -THE RACK. - -The rack, sometimes miscalled the "pace," is a method of quadrupedal -locomotion in which two lateral feet with nearly synchronous action are -placed upon and lifted from the ground alternately with the other laterals, -the body of the animal being in the intervals entirely without support. The -distance which the propelling feet hurl the animal through the air depends, -as with other movements, upon a variety of circumstances; at a high rate of -speed the distance will be about one-half the total length of the stride. -Upon landing, a hind foot usually precedes its lateral fore. - -[Illustration: SOME CONSECUTIVE PHASES OF THE RACK.] - -The rack is an ungraceful gait of the horse, and disagreeable to those who -seek comfort in riding. - -The movements hitherto described are regular in their action, and a stride -may be divided into two parts, each of which--with a change of limbs--is -practically similar to the other; we now come to methods of progression -which cannot be so divided, and each stride must be considered as a unit of -motion. - -THE CANTER. - -In the canter we discover the same sequence of foot fallings as in the -walk, but not with the same harmonious intervals of time. The gait -resembles the gallop in respect to its leaving the horse entirely -unsupported for a varying period of time, and in the fact that the spring -into the air is always effected from a fore foot, and the landing upon the -diagonal hind foot; in other respects it materially differs from that -method of progression. - -Assuming that during a stride of the canter a horse springs into the air -from a left fore foot, the right hind foot will first reach the ground; the -two fore legs will at this time be flexed under the body, the right being -the first landed, and for a brief period of time the support will devolve -upon the laterals. The right fore foot is rapidly followed by the left -hind. During a very slow canter the other fore foot will sometimes be -landed in advance of the lifting of its diagonal, and the curious phase -presented of all of the feet being in contact with the ground at the same -instant. Usually, however, the first hind foot to touch the ground will be -lifted, and the support thrown upon the diagonals. - -The left fore is now brought down, and is followed by the lifting of the -right fore; when the left laterals assume the duty of support. The left -hind is now raised, and with a final thrust of the left fore foot the -animal is projected into the air, to land again upon its diagonal, and -repeat the same sequence of movements. - -The above phases are selected from a single complete stride, in which the -landing occurs on the _right_ hind foot. Had the horse sprung from a -_right_ fore foot, the right and left feet would have been reversed through -the entire series. - -[Illustration: SOME CONSECUTIVE PHASES OF THE CANTER.] - -THE GALLOP. - -The gallop is the most rapid method of quadrupedal motion; in its action -the feet are independently brought to the ground; the spring into the air -as in the canter is effected from a fore foot, and the landing upon the -diagonal hind foot. - -The phases illustrated are selected from the stride of a thorough-bred -Kentucky horse, galloping at the rate of a mile in a hundred seconds, with -a stride of about twenty-one lineal feet. - -The length of stride and the distance which the body is carried forward -without support depend upon many circumstances, such as the breed, build -and condition of the horse, speed, track, etc. - -The phases illustrated and the measurement given apply to one stride of one -horse, but may be considered as fairly representing the stride of a -first-class horse in prime racing condition at the height of his speed, -upon a good track. - -Assuming--as in this instance--the springing into the air to have been -effected from the right fore foot, the landing will take place in advance -of the centre of gravity, upon the diagonal, or left hind foot; above, will -be suspended the right hind foot, and at a higher elevation, several inches -to the rear, will be the right fore foot, with the sole turned upward. The -left fore leg will be in advance of the right, and also flexed. The force -of the impact and the weight of the horse causes the pastern to form a -right angle with the leg, and the heel is impressed into the ground. - -[Illustration: SOME CONSECUTIVE PHASES OF THE GALLOP.] - -The right hind foot strikes the ground and shares the weight of the body. -The left hind foot leaves the ground while the right hind pastern is in its -horizontal phase, supporting all the weight. At this period the left fore -leg is perfectly straight, with the toe much higher than the heel, and is -thrust forward until the pastern joint is vertical with the nose, the right -fore knee is bent at a right angle. The left fore foot now strikes and -these diagonals are for a brief period upon the ground together. The left -fore leg, however, immediately assumes the entire responsibility of support -and attains a vertical position, with the pastern at a right angle. The -right fore leg becomes perfectly rigid, and is thrust forward to its -fullest extent. The right fore foot now strikes the ground, the two fore -legs form a right angle, and the hind feet are found thrust backward, the -right to its fullest extent. The left fore leg having completed its -functions of support, is now lifted, and the weight transferred to the -right fore foot alone, which is soon found behind the centre of gravity; -the left hind foot passes to the front of the right fore leg, which, -exercising its final act of propulsion, thrusts the horse through the air; -the left hind foot descends; the stride is completed, and the consecutive -phases are renewed. From this analysis we learn that if the spring is made -from the right fore foot during the rapid gallop of a thoroughbred horse, -it is supported consecutively by - -The left hind foot. - -Both hind feet. - -The right hind foot. - -The right hind and the left fore feet. - -The left fore foot. - -Both fore feet. - -The right fore foot. - -From which he springs into the air to re-commence the phases with the left -hind foot, while the only phase in which he has been discovered without -support is one when the legs are flexed under the body. All of the feet at -this time are nearly close together and have comparatively little -independent motion; this phase, therefore, more persistently than any -other, forces itself upon the attention of the careful observer, and -conveys to him the impression of a horse's rapid motion in singular -contradiction to the conventional interpretation, until quite recently, -usually adopted by the Artist. - -It should not be understood that the term "spring" implies that the body of -the horse is greatly elevated by that action; were it so, much force would -be unnecessarily expended with the result of loss of speed. The center of -gravity of a horse trotting or galloping at a high rate of speed will -preserve an almost strictly horizontal line, the undulations being very -slight. - -In the gallop of the horse it is probable there may be sometimes a period -of suspension between the lifting of one fore foot and the descent of the -other, but it has not yet been demonstrated. - -The method of galloping described applies to the horse and its allies, and -to most of the cloven and soft-footed animals. - -In the gallop of the dog the sequence of foot falling and the action of the -body is materially different, and the animal is free from support twice in -each stride. - -[Illustration: THE GALLOP OF THE DOG.] - -Assuming that a racing hound after a flight through the air with elongated -body and extended legs (like the conventional galloping horse), lands upon -the left fore foot, the right fore will next touch the ground; from this he -will again spring into the air, and with curved body and flexed legs land -upon the right hind foot, while the right fore feet will be half the length -of the body to the rear. The left hind now descends, another flight is -effected, and again the left fore repeats its functions of support and -propulsion. - -These successive foot fallings are common to all dogs when galloping, and -it is worthy of note that the same rotary action in the use of the limbs is -adopted in the gallop of the elk, the deer and the antelope, all of which -animals, like the dog, can for a time excel the horse in speed. - -A search through all the dictionaries published at the time of writing, and -accessible to the Author, fails to discover a correct definition of "the -gallop." This motion is in America frequently miscalled the "run," and its -execution "running," but no corresponding explanation of the word is given -by any lexicographer. - -In Scott's "Lady of the Lake" occurs "Then faint afar are heard the feet of -rushing steeds in _gallop_ fleet," many other distinguished Authors refer -to the same action by the same name, by which, or its equivalents, it is -universally known in Europe. - -THE LEAP. - -There is little essential difference in general characteristics of either -of the several movements that have been described, but with a number of -experiments made with horses while leaping, no two were found to agree in -the manner of execution. The leap of the same horse at the same rate of -speed, with the same rider, over the same hurdle, disclosed much variation -in the rise, clearance, and descent of the animal. A few phases were, -however, invariable. While the horse was raising his body to clear the -hurdle, one hind foot was always in advance of the other, which exercised -its last energy alone. - -On the descent, the concussion was always first received by one fore foot, -followed more or less rapidly by the other, sometimes as much as 30 inches -in advance of where the first one struck; the hind feet were also landed -with intervals of time and distance. - -No attempt will be made to analyze the consecutive phases of various other -acts of Animal Locomotion, such as rearing, bucking, kicking, tossing, -etc., on account of the irregularity which characterizes their execution, -and the difficulty of obtaining reliable data. - -The Author has vainly sought for the rules which govern the hind feet of a -playfully disposed mule; but the inquiry has usually been unsatisfactory, -and upon some occasions disastrous. Should these movements be controlled by -any general law, it is of such a complex nature that all attempts to -expound it have hitherto been fruitless. - -The figures in the series of circles (see appendix A) were selected from - - "ANIMAL LOCOMOTION" - -and arranged by the Author for his less ambitious work, - - "POPULAR ZOOPRAXOGRAPHY." - -(See Appendix C). - -They were traced by the well known artist, Erwin Faber, and are reproduced -one-third the diameter of the circles arranged for the zoopraxiscope. Many -of the original phases of movement are omitted on account of the optical -law which in the construction of a zoopraxiscope requires that the number -of illustrations must bear a certain relationship to the number of -perforations through which they are viewed. - -The popular number of thirteen having been selected for the latter, the -same number of figures illustrate actions without lateral progressive -motion. - -When the number of illustrated phases is less than the number of -perforations, the succession of phases is in the direction of the motion, -and the disc is necessarily revolved in a reverse direction. - -When the number of phases is greater than the number of perforations, the -phases succeed each other in a direction contrary to that of the motion, -and the disc is revolved in the direction of the motion. - -An increased or diminished number of figures will respectively result in an -increased or diminished apparent speed of the object. - -For further information on the subject, the reader is referred to the - - ZOOPRAXISCOPE. - - * * * * * - - -_APPENDIX A._ - -SYLLABUS OF A COURSE OF TWO LECTURES - -ON - -ZOOPRAXOGRAPHY - -OR - -THE SCIENCE OF ANIMAL LOCOMOTION IN ITS RELATION -TO DESIGN IN ART. - -Origin of the Author's Investigations--Diagram of the Studio at the -University of Pennsylvania where the Investigation was conducted--Batteries -of Cameras, Electro-exposers, Contact-motor, Chronograph, and other -apparatus used for photographing consecutive phases of animal -movements--Method of obtaining successive exposures of moving objects -synchronously from several different points of view--Normal Locomotion of -Animals--Twelve consecutive phases of a single step of the Horse while -walking; also of the Ox, Elk, Goat, Buffalo, and other cloven-footed -animals; the Lion, Elephant, Camel, Dog, and other soft-footed animals; of -the Sloth while suspended by its claws, and of the Child while crawling on -the ground; of man walking erect--The Normal Method of Locomotion by all -animals essentially the same--The Quadrupedal Walk as interpreted by -Prehistoric Man, by the Egyptians, Assyrians, Phoenicians, Etruscans, -Greeks, Romans, Byzantines, and by eminent artists of mediaeval and of -modern times--The Statue of Marcus Aurelius the great source of modern -errors; Marcus Aurelius in London, Edinburgh, Glasgow, Dublin, Paris, -Berlin, Amsterdam, New York, Boston, and many other cities--Albert Durer, -Verrocchio, Meissonier, Paul Delaroche, Landseer, Rosa Bonheur, Elizabeth -Thompson Butler, &c.--Other Quadrupedal movements, the Amble, Rack, Trot -and Canter--Twelve phases in the Gallop of a Horse--Origin of the modern -representation of the Gallop--Gallop as depicted by the Hittites, North -American Indians, Egyptians, Assyrians, Greeks, the mediaeval artists--The -modern conventional gallop; evidences of its absurdity; acknowledgment by -the Artist of the necessity of reformation--Leap of the Horse, Kick of the -Mule, &c., all illustrated by photographs the size of life, from nature, -and comparisons made with the interpretation of the same movements by -artists of pre-historic, ancient, mediaeval and modern times--Demonstration -of the action of the primary feathers in the wing of a Bird while Flying, -and a solution of the complex problem of Soaring. - -AFTER THE VARIOUS METHODS OF LOCOMOTION HAVE BEEN DEMONSTRATED BY ANALYSIS, -THEY WILL BE REPRESENTED SYNTHETICALLY BY THE ZOOPRAXISCOPE. - -_Among the many Institutions where Mr. Muybridge has had the honor of -Lecturing on_ - -ZOOPRAXOGRAPHY - -_are the following_:-- - -Royal Academy of Arts, London. -Royal Society of London. -Royal College of Surgeons, London. -Royal Institution of Great Britain. -Royal Dublin Society. -Royal Geographical Society. -Royal Institution, Hull. -British Association for the Advancement of Science. -Linnean Society, Zoological Society. -Art and Science Schools, South Kensington Museum. -London Institution, Glasgow Philosophical Society. -Newcastle Literary and Philosophical Society. -Birmingham Natural History and Microscopical Society. -Town Hall, Birmingham; Nottingham Arts Society. -Manchester Athenaeum. -University of Oxford. -Eton College, Clifton College. -Wellington College, Yorkshire College, -Rugby School, Charterhouse. -Leeds Mechanics' Institute. -Sheffield Literary and Philosophical Society. -Belfast Natural History and Philosophical Society. -Warrington Literary and Philosophical Society. -Yorkshire Philosophical Society, Bristol Naturalists' Society. -Bath Associated Scientific and Art Societies. -Ipswich Scientific Society, Photographic Society of Ireland. -Liverpool Associated Literary, Scientific and Art Societies. -St. George's Hall, Liverpool. -School of Military Engineering, Chatham. -The School of Fine Arts; Hall of the Hemicycle, Paris. -The Society of Artists, Berlin. -The Society of Artists, Vienna. -The Society of Artists, Munich. -The Urania Scientific Society, Berlin. -The Polytechnic High School, Vienna. -The Polytechnic High School, Munich. -The University of Turin. -The "Cercle de L'Union Artistique," -The Studio of M. Meissonier in Paris, Etc., Etc., Etc. - -_And at all the principal Institutions of Art, Science, Education and -Learning in the United States of America._ - -[Illustration: 1. ATHLETE, HORSE-BACK SOMERSAULT.] - -ABBREVIATED CRITICISMS. - -"On Monday last, in the theatre of the ROYAL INSTITUTION, a select and -representative audience assembled to witness a series of the most -interesting demonstrations of Animal Locomotion given by Mr. Muybridge. - -"The Prince and Princess of Wales, Princess Victoria, Louise, and Maud, and -the Duke of Edinburgh honored the occasion by their presence; likewise did -I note among the brilliant company Earl Stanhope, Sir Frederick Leighton, -P.R.A.; Professors Huxley, Gladstone, and Tyndall; and last, not least, -Lord Tennyson, poet laureate. - -[Illustration: 2. ATHLETES BOXING.] - -"Mr. Muybridge exhibited a large number of photographs of horses galloping, -leaping, etc.... By the aid of an astonishing apparatus called a -ZOOPRAXISCOPE, which may be briefly described as a magic lantern run mad -(with method in the madness), the animals walked, cantered, ambled, -galloped, and leaped over hurdles in a perfectly natural and lifelike -manner. I am afraid that, had Muybridge exhibited his ZOOPRAXISCOPE three -hundred years ago, he would have been burned as a wizard.... After the -horses came dogs, deer, and wild bulls. Finally man appeared (in -instantaneous photography) on the scene, and ran, leaped, and turned back -somersaults to admiration."--GEORGE AUGUSTUS SALA in _Illustrated London -News_. - -[Illustration: 3. ATHLETES RUNNING.] - -"Both scientific and artistic circles in London are at present greatly -interested in the triumphs of Mr. Eadweard Muybridge in photographing the -successive phases of animal movements. Our leading biologists and artists -have at once perceived and acknowledged the vast importance of the results -of his work."--_The Times, London._ - -[Illustration: 5. ATHLETE, RUNNING HIGH JUMP.] - -"The Archbishop of York occupied the chair.... His Grace congratulated the -crowded and distinguished audience on the opportunity afforded them of -hearing Mr. Muybridge, and said that to everybody who felt an interest in -the phenomena of motion, the magnificent results of the investigation -carried on by Mr. Muybridge and the University of Pennsylvania were -wonderfully instructive."--_York Herald._ - -"His audiences have been drawn from the very first ranks of art, science, -and fashion."--_British Journal of Photography._ - -[Illustration: 6. ATHLETE, STANDING LONG JUMP.] - -"These demonstrations are marvellously complete, ... exceedingly abundant -and rich in suggestion and instruction, and appeal to almost every class or -condition of humanity."--_Saturday Review, London._ - -"Mr. Muybridge delighted his audience with his wonderful -photographs."--_The Times, London._ - -"... Last night Mr. Muybridge gave his final lecture in Newcastle on 'The -Science of Animal Locomotion,' with the whole of the wonderful -illustrations; the Art Gallery being again crowded to excess."--_Newcastle -Chronicle._ - -[Illustration: 11. ATHLETES. BASE BALL; BATTING.] - -"A photographic achievement which seemed to me at the time scarce credible, -and which I was presently assured by one of our ablest English -photographers was absolutely outside the bounds of possibility."--PROFESSOR -R. A. PROCTOR in the _Gentleman's Magazine_. - -"At the conversazione of the Royal Society much interest was excited by Mr. -Eadweard Muybridge's lecture. The ZOOPRAXISCOPE afforded the spectator an -opportunity of studying by synthesis, the facts of motion which are also -demonstrated by analysis."--_Illustrated London News._ - -[Illustration: 14. BOYS PLAYING LEAP-FROG.] - -"A really marvellous series of plates."--_Nature, London._ - -"Artistic people are all talking about Mr. Muybridge, who has come hither -with that rare desideratum--_something new_."--London CORRESPONDENCE, -_Philadelphia Times._ - -"It is impossible to do justice in this short time to the extraordinary -exhibition given by Mr. Muybridge at the Institute of Technology.... The -interest they excite in the mind of the spectator is -indescribable."--_Sunday Gazette, Boston._ - -[Illustration: 16. CHILDREN RUNNING.] - -"The photographs have solved many complicated questions as to animal -locomotion."--_Art Journal, London._ - -"The effect was weird, yet fascinating. Plaudit followed plaudit. A better -pleased assemblage of people it would be difficult to find."--_Boston -Journal._ - -"... Mr. Muybridge then gave his famous lecture and demonstration on Animal -Locomotion. The hall (St. James') was crowded, and many were unable to -obtain seats."--Report of the Photographic Convention, _British Journal of -Photography_. - -[Illustration: 17. ELEPHANT AMBLING.] - -"A demonstration that vividly interests all the world."--_L'Illustration, -Paris._ - -"Many of these pictures have great--indeed, astonishing--beauty. The -interest which they present from the scientific point of view is -three-fold:--(_a_) They are important as examples of a very nearly perfect -method of investigation by photographic and electrical appliances. (_b_) -They have also a great value on account of the actual facts of natural -history and physiology which they record. (_c_) They have, thirdly, a quite -distinct, and perhaps their most definite, interest in their relation to -psychology."--PROF. E. RAY LANKESTER, F. R. S., in _Nature_. - -[Illustration: 18. LION WALKING.] - -"Mr. Meissonier's critical guests were evidently sceptical as to the -accuracy of many of the positions; but when the photographs were turned -rapidly, and made to pass before the lantern, their truthfulness was -demonstrated most successfully."--_Standard, London._ - -"Meissonier, devoting himself to his friends, evidently cared little for -personal compliments; he was anxious for the well-deserved distinction of -his _protege_ Muybridge.... 'C'est merveilleusement arrange!' said -Alexandre Dumas. 'C'est que la nature _compose_ cranement bien!' replied -Meissonier."--_Le Temps_, Paris. - -[Illustration: 20. EGYPTIAN CAMEL RACKING.] - -"The sensation of the day, and the topic of popular conversation."--_Boston -Daily Advertiser._ - -"The rapid movements by different animals were most interesting: and -hurdle-racing by horses--the very whipping process being visible--brought -down the house."--_Boston Herald._ - -"On revolving the instrument, the figures that have been derided by so many -as impossible absurdities, started into life, and such a perfect -representation of a racehorse at full speed as was never before witnessed -was immediately visible."--_The Field, London._ - -[Illustration: 21. BABOON WALKING.] - -"Mr. Muybridge showed that many of our best artists have been in the habit -of depicting animals in positions which they never assume in -nature."--_Chambers' Edinburgh Journal._ - -"The large school-room (Clifton College) was crowded. The head master -presided. Loud applause and frequent laughter greeted the life-sized -photographs from nature, which by a rapid revolution of the ZOOPRAXISCOPE, -showed among other actions, the ambling of an elephant, the gallop of a -race-horse, the somersault of a gymnast and the flight of a -bird."--_Bristol Mercury._ - -[Illustration: 22. KANGAROO JUMPING.] - -"The lecture theatre of the ROYAL ACADEMY OF ARTS was filled to -overflowing."--_Athenaeum, London._ - -"The Royal Dublin Society's Theatre was filled to its utmost capacity -yesterday afternoon, when Mr. Muybridge resumed his course of Lectures. The -demonstration is simply marvellous."--_Daily Express, Dublin._ - -"The result of years of labor, and of large expenditure of money is at last -laid before the public in this magnificent work, and the result is one of -which Mr. Muybridge and the University of Pennsylvania may well be -proud."--_Evening Post_, New York. - -[Illustration: 23. BUFFALO GALLOPING.] - -"A Lecture of an exceptionally interesting character."--_Nottingham -Guardian._ - -"There was a crowded attendance. Throughout the lecture Mr. Muybridge -retained the close interest of his audience, and drew from them frequent -and warm applause."--_The Scotsman, Edinburgh._ - -"In all my long experience of London life I cannot recall a single instance -where such warm tributes of admiration have been so unsparingly given by -the greatest in the land, as in the case of Mr. Muybridge's -lectures."--OLIVE LOGAN in the _Morning Call, San Francisco_. - -[Illustration: 24. ELK GALLOPING.] - -"Mr. Muybridge illustrated his lecture with a series of most valuable -photographs, as well as that most fascinating of scientific toys--the -ZOOPRAXISCOPE."--_Magazine of Art, London._ - -"His labors attracted considerable attention in the world of science, while -among artists and art critics a pretty controversy set in on the subject of -the horse and his representation in art, which is likely to be revived and -extended to other fields.... With Mr. Muybridge, 'Instantaneous -Photography' has acquired a new significance, ..."--_Saturday Review, -London._ - -[Illustration: 25. MONKEYS CLIMBING A COCOA PALM.] - -"No parallel in the history of photography."--_Photographic Times, New -York._ - -"An exhibition which Raphael, Tintoretto, Michael Angelo, and other great -masters of the Renaissance would have travelled all over Europe to -see."--_Evening Transcript, Boston._ - -"The audience was astonished and delighted at the marvellous demonstrations -of Animal Locomotion that were brought before them.... The most remarkable -feature of the British Association meeting this year."--_Newcastle -Journal._ - -[Illustration: 28. GREYHOUND GALLOPING.] - -"The effects of the ZOOPRAXISCOPE made up one of the most unique and -instructive entertainments imaginable."--_Boston Daily Globe._ - -"A more curious, entertaining, and suggestive exhibition it has not been -our good fortune for a long time to attend."--_Sacramento Record-Union._ - -"Everybody has heard something of the wonderful success which Mr. Muybridge -has achieved; and in no country in the world is greater interest felt in -his work, particularly as regards horses, than in England."--_Engineering, -London._ - -[Illustration: 29. MULE, BUCKING AND KICKING.] - -"Simply marvels of the photographer's art."--_Mercury_, Leeds. - -"Not the least instructive part of the Lecture was the contrast between the -positions of animals as shown in ancient and modern art, with their true -positions as shown by themselves in the camera."--_New York Tribune._ - -"Professor Marey invited to his residence a large number of the most -eminent men in Europe for the purpose of meeting Mr. Muybridge, and -witnessing an exhibition that should be placed before the whole Parisian -public."--_Le Globe, Paris._ - -[Illustration: 32. PIGEONS FLYING.] - -"The art critic and the connoisseur will find a study of Mr. Muybridge's -work of inestimable value in aiding them to criticize -intelligently."--_Pennsylvanian, Philadelphia._ - -"The applause which greeted these wonderful pictures from the brilliant -company was hearty in the extreme; and all predicted a new era was open to -art, and new resources made available for the use of -artists."--_Galignani's Messenger, Paris._ - -"Of immense interest and value."--_Lippincott's Magazine, Philadelphia._ - -[Illustration: 34. GRECIAN DANCING GIRLS.] - -"The ZOOPRAXISCOPE is the latest, most unique, and instructive form of -amusement possible."--_Commercial Gazette_, Cincinnati. - -"His work at once attracted the attention of the world."--_Scientific -American_, New York. - -"Of much interest and value, as well as a source of great -amusement."--_Observer, London._ - -"The realism of the motions of the various animals was intense, and the -audience was very enthusiastic."--_Boston Post._ - -[Illustration: 39. HORSE TROTTING (fast).] - -"The Lecturer proceeded to show enlarged photographs of various animals in -motion, as the horse, dog, lion, mule, cat, etc.... These were followed by -some very striking pictures of the flight of birds, which from a scientific -standpoint were by far the most interesting and valuable of the photographs -shown during the evening."--_Lancet_, London. - -"Of extreme interest, not only to the artists and scientists, but to the -greater part of his audience, who were neither the one or the -other."--_Birmingham Daily Gazette._ - -[Illustration: 41. HORSE CANTERING.] - -"A host of well-known scientists and artists are greatly interested in this -remarkable work."--_Pall Mall Gazette._ - -"The lecture on Tuesday night more than fulfilled the expectations which -the audience had formed of Mr. Muybridge's researches."--_Belfast News -Letter._ - -"Mr. Muybridge might well be proud of the reception accorded him by his -distinguished audience; it would have been difficult to add to the _eclat_ -of his appearance, and his lecture was welcomed by a warmth as hearty as it -was spontaneous."--_The Photographic News, London._ - -[Illustration: 42. HORSE GALLOPING.] - -"The illustrations are truly wonderful, and the rapid changing positions -were most instructive."--_Nottingham Express._ - -"The concert room was crowded.... A vote of thanks to the Lecturer was -proposed by his Grace the Archbishop."--_Yorkshire Chronicle._ - -"A very brilliant audience was assembled at the Royal Institution.... The -photographs properly studied should be most valuable in affording truer and -more exact data for the painter to base his work upon...."--_The Builder, -London._ - -[Illustration: 43. HORSE JUMPING.] - -"A very important subject to all those interested in art."--_Belfast News -Letter._ - -"It is now nine years since the photographs of Mr. Eadweard Muybridge -surprised the world by challenging all received conceptions of animal -motion."--_Century Magazine, New York._ - -"The interest excited by the novelty, both of the demonstrations and the -results, was so great, that Mr. Muybridge has been invited by the -Photographic Society of Ireland to repeat them to-night in a public -lecture."--_The Freeman's Journal, Dublin._ - -[Illustration: 44. HORSE HAULING.] - -"The audience filled the large hall, and by their frequent and hearty -applause, expressed their appreciation of the lecture."--_Irish Times, -Dublin._ - -"A very large audience again assembled in the Town Hall last evening, on -the occasion of the second Lecture by Mr. Muybridge. The Mayor, who -presided, referred to the first Lecture as perhaps the most unique ever -delivered in Birmingham."--_Birmingham Daily Gazette._ - -"The attendance was exceedingly large, and the Lecture and admirable -illustrations were loudly applauded."--_The Irish Times, Dublin._ - -[Illustration: 45. COLUMBIAN EXPOSITION HORSE RACE, GALLOPING.] - -"There was a very large attendance, and seldom have we seen so much genuine -admiration and enthusiasm displayed as were evoked by Mr. Muybridge's -illustrations, which were really wonderful."--_The Daily Express, Dublin._ - -"There was a crowded audience, and the Lecture, which was listened to with -the greatest interest, was warmly applauded."--_The Freeman's Journal, -Dublin._ - -"No description can do justice to the extent and variety of the subjects -presented in this thorough study of animal movements."--_Ledger_, -Philadelphia. - -[Illustration: 46. COLUMBIAN EXPOSITION HORSE RACE, TROTTING.] - -"Wonderful and interesting demonstration; its influence will become more -and more potent and universal as the years go on."--_Argus, Albany._ - -"Will necessarily revolutionize the treatment of the action of the horse in -painting and sculpture. For the physiological study of animal movements -these pictures are a veritable treasure."--_Landwirthschaftliche-Zeitung, -Vienna._ - -"I am lost with admiration of these photographs of Mr. -Muybridge."--PROFESSOR MAREY, in _La Nature, Paris._ - -[Illustration: 47. COLUMBIAN EXPOSITION SPEEDWAY.] - -"Interesting and instructive to all."--_New York Herald._ - -"Highly interesting and valuable for every lover of horses."--_Illustrirte -Zeitung, Berlin._ - -"We cannot more fittingly conclude our review than by repeating our -recommendation of the work to all artistic and scientific bodies."--_The -Nation, New York._ - -"So perfect was the synthesis that a dog in the lecture room barked and -endeavored to chase the phantom horses as they galloped across the -screen."--_Berkeley Weekly News._ - -[Illustration: 48. VILLAGE BLACKSMITHS.] - -"Noted artists, such as Menzel, Knaus, Begas; eminent scientists, such as -von Helmholtz, Siemens and Foerster and even the imperturbable -field-marshal, Count von Moltke, were enthusiastic in their -applause."--_Illustrirte Zeitung._ - -"A very large number could not obtain admission, so great was the desire to -hear the lecture.... A wonderful surprise even to the careful observer of -Nature."--_Die Press_, Vienna. - -"The lecture was received with stormy applause."--_Berliner Post_, Berlin. - -"The lecture was given in a popular manner, with scientific accuracy and -artistic taste.... The room was filled to the last corner; nearly all the -Royal Family and the Ministers were present."--_Muenchener Neueste -Nachrichten_, Munich. - -[Illustration: 49. A FAN FLIRTATION.] - -"After attending Mr. Muybridge's demonstrations, we felt no surprise at his -having been received so enthusiastically in Paris."--_Berliner Tageblatt_, -Berlin. - -"The lectures of Mr. Muybridge are unquestionably the most intensely -interesting we ever listened to. No one in Berlin should fail to attend -them."--_Norddeutsch Allgem Zeitung_, Berlin. - -"Some lectures are too technical for the general public. Here is one in -which everybody is interested. The Lecture Theatre was crammed to -repletion; we thought a few vacant places might have been reserved for -those whose pleasant duty it is to record the brilliant success of Mr. -Muybridge."--_Pall Mall Budget_, London. - -[Illustration: 50. ATHLETE, RUNNING LONG JUMP.] - -"So great an interest did the demonstrations excite that Mr. Muybridge was -unanimously requested to repeat them. Two days afterward this distinguished -company, including the venerable Field-Marshal (Count von Moltke) himself, -attended a repetition of the lecture."--_Illustrirte Zeitung._ - - * * * * * - - -_APPENDIX B._ - -ANIMAL LOCOMOTION. - -DESCRIPTION OF THE PLATES. - -The results of the investigation executed for the University of -Pennsylvania are - -SEVEN HUNDRED AND EIGHTY-ONE SHEETS OF ILLUSTRATIONS, - -containing more than 20,000 figures of men, women, and children, animals -and birds, actively engaged in walking, galloping, flying, working, -jumping, fighting, dancing, playing at base-ball, cricket, and other -athletic games, or other actions incidental to every-day life, which -illustrate motion or the play of muscles. - -These sheets of illustrations are conventionally called "plates." - -EACH PLATE IS COMPLETE IN ITSELF WITHOUT REFERENCE TO ANY OTHER PLATE, - -and illustrates the successive phases of a single action, photographed with -automatic electro-photographic apparatus at regulated and accurately -recorded intervals of time, _consecutively_ from one point of view; or, -_consecutively_ AND _synchronously_ from _two_, or from _three_ points of -view. - -A series of twelve consecutive exposures, from each of the three points of -view, are represented by an outline tracing on a small scale of plate 579, -a complete stride of a horse walking; the intervals of exposures are -recorded as being one hundred and twenty-six one-thousandths of a second. - -[Illustration: REDUCED OUTLINE TRACING OF PLATE 579.--"ANIMAL LOCOMOTION."] - - - -[Illustration: REDUCED TRACING OF SOME PHASES FROM PLATE 758.] - - - -[Illustration: REDUCED TRACINGS OF PLATE 347.] - - - -When one of the series of foreshortenings is made at a right angle with the -lateral series the arrangement of the phases is usually thus: - - 1 2 3 4 5 6 7 8 9 10 11 12 Laterals. - - 1 2 3 4 5 6 7 8 9 10 11 12 Rear Foreshortenings - from points of view on - the same vertical line, - at an angle of 90 deg. - from the Laterals. - - 1 2 3 4 5 6 7 8 9 10 11 12 Front Foreshortenings - from points of view on - the same horizontal - plane, at suitable angles - from the Laterals. - - -The plates are not _photographs_ in the common acceptation of the word, but -are printed in PERMANENT INK, from gelatinised copper-plates, by the New -York Photo-Gravure Company, on thick linen plate-paper. - -The size of the paper is 45 x 60 centimetres--(19 x 24 inches), and the -printed surface varies from 15 x 45 to 20 x 30 centimetres--(6 x 18 to 9 x -12 inches). - -The number of figures on each plate varies from 12 to 36. - -To publish so great a number of plates as one undivided work was considered -unnecessary, for each subject tells its own story; and inexpedient, for it -would defeat the object which the University had in view, and limit its -acquisition to wealthy individuals, large Libraries, or Institutions where -it would be beyond the reach of many who might desire to study it. - -It has, therefore, been decided to issue a series of One Hundred Plates, -which number, for the purposes of publication, will be considered as a -"COPY" of the work. These one hundred plates will probably meet the -requirements of the greater number of the subscribers. - -In accordance with this view is re-issued the following prospectus. - -PROSPECTUS - -ANIMAL LOCOMOTION, - -AN ELECTRO-PHOTOGRAPHIC INVESTIGATION OF CONSECUTIVE -PHASES OF ANIMAL MOVEMENTS, - -BY - -EADWEARD MUYBRIDGE. - -Commenced, 1872--Completed, 1885. - -PUBLISHED 1887, UNDER THE AUSPICES OF THE - -UNIVERSITY OF PENNSYLVANIA. - -_Exclusively by Subscription_. - -CONSISTING OF A SERIES OF - -ONE HUNDRED PLATES, - -AT A SUBSCRIPTION PRICE OF - -ONE HUNDRED DOLLARS For the United States, or TWENTY GUINEAS For Great -Britain; - -Or the equivalent of Twenty Guineas in the gold currency -of other countries in Central or Western Europe. - -The Plates are enclosed in a strong, canvas-lined, full AMERICAN-RUSSIA -LEATHER PORTFOLIO. - -Additional Plates in any required number will be supplied to the subscriber -at the same proportionate rate; these, however, must be ordered at the same -time as the subscription Plates. - -It was considered inadvisable to make an _arbitrary_ selection of the one -hundred Plates offered to subscribers, and with the object of meeting, as -far as possible, their diverse requirements, they are invited to make their -own selection, either from the subjoined list of subjects, or from a -detailed catalogue, which will be forwarded free of expense to every -subscriber. - -The following are the numbers of Plates published of each class of -subjects, from which the subscriber's selection can be made:-- - - Class. Plates Published. - 1. Men, draped 6 - 2. " pelvis cloth 72 - 3. " nude 133 - 4. Women, draped 60 - 5. " transparent drapery and semi-nude 63 - 6. " nude 180 - 7. Children, draped 1 - 8. " nude 15 - 9. Movements of a man's hand 5 - 10. Abnormal movements, men and women, nude - and semi-nude 27 - 11. Horses walking, trotting, galloping, jumping, &c. 95 - 12. Mules, oxen, dogs, cats, goats, and other domestic - animals 40 - 13. Lions, elephants, buffaloes, camels, deer, and - other wild animals 57 - 14. Pigeons, vultures, ostriches, eagles, cranes and - other birds 27 - --- - Total number of Plates 781 - Containing more than 20,000 Figures. - -Should the selection be made from the Catalogue, it will be advisable to -give the Author permission to change any one of the selected Plates for any -other illustrating the same action, if, in his judgment, the substituted -Plate illustrates that action with a better model, or in a more perfect -manner than the one selected. - -With regard to the selection of Plates, however, it has been found by -experience that unless any special subject or plate is required it will be -more satisfactory to the subscriber if he gives the Author GENERAL -INSTRUCTIONS as to the CLASS of subjects desired and to leave the SPECIFIC -selection to him. - -Many of the large Libraries and Art or Science Institutions in America and -in Europe have subscribed for, and have now in their possession, a complete -series of the seven hundred and eighty-one Plates, the subscription price -for which is - -FIVE HUNDRED DOLLARS - -in the United States, - -ONE HUNDRED GUINEAS - -in Great Britain for the complete series, in eight full AMERICAN-RUSSIA -LEATHER PORTFOLIOS, or if bound in eleven volumes, each plate _hinged_, -full American-Russia leather, - -FIVE HUNDRED AND FIFTY DOLLARS - -in the United States, - -ONE HUNDRED AND TEN GUINEAS - -in Great Britain; or its equivalent for any city in Central or Western -Europe. - -Subscribers who wish to make use of these Plates for the promotion or -diffusion of knowledge, or for artistic or scientific purposes, will be -afforded facilities for acquiring working copies by special arrangement -with the Author. - -The investigations of the Author are so well known; and so generally -recognized as affording the only basis of truthful interpretation or -accurate criticism of Animal Movement, that it is perhaps scarcely -necessary to quote from the many elaborate reviews of "Animal Locomotion," -which have been published in the American, English, French, and German -Scientific, Artistic, and other Journals. A few extracts therefrom are -however given in Appendix A. - -For the value of the present work to the general student of Nature and the -lover of Art, no less than to the Artist and the Archaeologist, the -Physiologist and the Anatomist, it is with much pride and gratitude that he -refers to the annexed list of some of his subscribers. - -SUBSCRIBERS. - -The general or departmental Libraries of the following - -UNIVERSITIES. - - Amsterdam - Andrews, St. - Basel - Berlin - Bern - Bologna - Bonn - Breslau - Bruxelles - Edinburgh - Erlangen - Freiburg - Geneve - Genova - Glasgow - Goettingen - Griefswald - Halle - Heidelberg - Innsbrueck - Jena - Kiel - Koenigsberg - Leiden - Leipzig - Liege - Louvain - Muenchen - Napoli - Oxford - Padova - Pisa - Prag - Roma - Rostock - Strassburg - Torino - Tuebingen - Utrecht - Wien - Wuerzberg - Zuerich - -IMPERIAL, NATIONAL, OR ROYAL ACADEMIES OF FINE ARTS. - - Amsterdam - Antwerpen - Berlin - Bern - Birmingham - Bologna - Breslau - Bruxelles - Budapest - Dresden - Duesseldorf - Firenze - Frankfurt - Genova - Gent - Leipzig - Liege - London - Manchester - Milano - Muenchen - Napoli - Paris - Praha - Roma (_de France_) - Sheffield - Torino - Venezia - Wien - Zuerich - Architectural Institute, Muenchen - Herkomer School of Art, Bushey - -ART MUSEUMS. - - Amsterdam - Berlin - Budapest - -ARCHAEOLOGICAL INSTITUTES AND MUSEUMS. - - Dresden - Griefswald - Heidelberg - Koenigsberg - Leipzig - Prag - Rostock - Strassburg - Wien - Wuerzburg - Zuerich - -INDUSTRIAL ART AND SCIENCE MUSEUMS. - - Berlin - Dublin - Edinburgh - Kensington - Paris - Wien - -INDUSTRIAL ART SCHOOLS. - - Amsterdam - Breslau - Budapest - Frankfurt - Nuernberg - Zuerich - -LIBRARIES. - - The Royal Library, Windsor Castle. - Imperial Library, Berlin. - Birmingham, Free Public - Edinburgh, Advocates' - Glasgow, Mitchell Free - Liverpool, Free Public - London, British Museum - Manchester, Free Public - Nottingham, Free Public - Paris, National Library - -ANATOMICAL INSTITUTES. - - Bern - Breslau - Freiburg - Halle - Innsbrueck - Kiel - Koenigsberg - Leipzig - Muenchen - Pisa - Prag - Rostock - Tuebingen - Wuerzburg - Zuerich - -ROYAL COLLEGES OF SURGEONS. - - Edinburgh - London - -PHYSIOLOGICAL INSTITUTES. - - Basel - Berlin - Bern - Bologna - Bonn - Breslau - Bruxelles - Erlangen - Freiburg - Genova - Goettingen - Griefswald - Halle - Heidelberg - Innsbrueck - Jena - Kiel - Koenigsberg - Leipzig - Louvain - Muenchen - Napoli - Prag - Rostock - Strassburg - Torino - Tuebingen - Wien - Wuerzburg - Zuerich - -VETERINARY INSTITUTES. - - Alfort - Bern - Berlin - Dresden - London - -ANTHROPOLOGICAL MUSEUMS. - - Dresden - Firenze - -ETHNOLOGICAL, NATURAL HISTORY, AND ZOOLOGICAL -INSTITUTES AND MUSEUMS. - - Amsterdam - Bruxelles - Freiburg - Kiel - Leiden - Liege - Napoli - Paris - Rostock - -PHYSICAL INSTITUTES. - - Basel - Bologna - Bruxelles - Geneve - Heidelberg - Padova - Prag - Roma - Rostock - Utrecht - -POLYTECHNIC HIGH SCHOOLS. - - Berlin - Firenze - Wien - Zuerich - -COLLEGES. - - Charterhouse - Clifton - Dublin (Trin.) - Eton - Owens - Wellington - -ROYAL PORCELAIN MANUFACTORIES. - - Berlin - Dresden - -ARTISTIC, LITERARY OR SCIENTIFIC CLUBS. - - Duesseldorf, _Malkesten_ - Glasgow, _Western_ - London, _Athenaeum_ - Rome, _Internazionale_ - ------- - - Agricultural High School of Berlin - Faculty of Medicine of Paris - Faculty of Physicians and Surgeons of Glasgow - Psychological Institute of Leipzig - Royal College of Physicians, Edinburgh - Royal Institution, Edinburgh - Royal Dublin Society - Royal Society of London - -DEPARTMENTS OF THE U. S. GOVERNMENT. - - Bureau of Education - Bureau of Engraving - Bureau of Ethnology - Department of War - Library of Congress - National Museum - Patent Office - Smithsonian Institution - Surgeon General's Office. - -INSTITUTIONS OF ART AND OF ART TRAINING. - - Baltimore, Maryland Institute. - Boston, Museum of Fine Arts. - Chicago, Art Institute. - Cincinnati, Art Museum. - Milwaukee, School of Design. - Minneapolis, School of Design. - New Bedford, Swain School. - New York, Cooper Union. - New York, Metropolitan Museum of Art. - New York, National Academy of Design. - Philadelphia, Academy of Fine Arts. - Philadelphia, School of Industrial Art. - Philadelphia, School of Design for Women. - St. Louis, Museum of Fine Arts. - Washington, Corcoran Gallery of Art. - -INSTITUTIONS OF SCIENCE. - - Academy of Natural Sciences, Philadelphia. - American Institute, New York. - American Philosophical Society, Philadelphia. - College of Physicians, Philadelphia. - Essex Institute, Salem. - Franklin Institute, Philadelphia. - Museum of Comparative Zoology, Cambridge. - Museum of Natural History, New York. - Peabody Museum of Yale College. - -UNIVERSITIES AND COLLEGES. - - Brown - Columbia - Cornell - Harvard - Johns Hopkins - Kansas - Lehigh - Minnesota - Nebraska - New York - Pennsylvania - Princeton - Vassar - Vermont - Wellesley - Yale - -LIBRARIES. - - Baltimore--Peabody - Boston--Athenaeum - Boston--Public - Brooklyn--L. I. Historical - Brooklyn Library - Chicago--Historical - Chicago--Public - Cincinnati--Public - Denver--Mercantile - Harlem Library - Massachusetts--State - Minneapolis--Public - New Bedford--Public - New York--Mercantile - New York--State - Pennsylvania--State - Philadelphia Library - St. Paul--Public - San Francisco--Public - Springfield (Mass.)--Public - Wisconsin--State Historical - Worcester (Mass.)--Public - -It is impossible within the limits of this appendix to record the names of -the many well-known _Dilettanti_, Art Connoisseurs, Manufacturers, etc., -who have acquired copies of Animal Locomotion, and it is difficult, without -unjust discrimination, to select a few from among the many Eminent Men -whose names and works are known all over the world and who are subscribers. -Among those, however, who have honored the Author by placing their names on -his subscription book--all academical and university distinctions being -omitted--are the following: - -ARCHITECTS, PAINTERS OR SCULPTORS. - - Alma-Tadema - Armitage - Becker - Begas - Bonnat - Boughton - Bouguereau - Bridgman - Burnham - Carolus-Duran - Cavelier - Conti, Tito - Dalou - von Defregger - Detaille - Dubois - Eisenmenger - Ende - Faed - Falguiere - Fildes - Fremiet - Frith - Garnier - Gerome - Gilbert - Gordigiani - Gow - Herkomer - Hunt, Holman - von Kaulbach - Knaus - Knight - Kopf - Leighton, Sir F. - von Lenbach - von Loefftz - Marks - du Maurier - Meissonier - von Menzel - Millais, Sir J.E. - Morot - Munkacsy - Orchardson - Ouless - Parsons - Passini - Poynter - Puvis, de Ch - Richardson - Richmond - Riviere-Briton - Robert-Fleury - Rodin - Roll - Roth - Ruemann - Schilling - Siemering - St. Gaudens - Story - Thornycroft - Tiffany - Vibert - Villefroy - Vinea - Wagner - Ward - Watts - Weeks - Wells - von Werner - Whistler - Zuegel. - -ARCHAEOLOGISTS, AUTHORS OF ART WORKS, ETC. - - von Berlepsch - Bullen - von Duhn - Ewald - Falke - Furness, H. H. - von Kekule - Klein - Muntz - Overbeck - Pietsch - Preuner - Pulszky - Ruskin - di Sambuy, Conte - Smith, Gen. Sir R.M. - Treu - Wolff, Albert. - -ANATOMISTS, ANTHROPOLOGISTS, BIOLOGISTS, ETHNOLOGISTS, PALAEONTOLOGISTS, -PATHOLOGISTS, PHYSIOLOGISTS, PSYCHOLOGISTS, ZOOLOGISTS, ETC. - - Acland, Sir H. W. - Agassiz, A. - Barrier - du Bois Reymond - Bowditch - Bowman, Sir W. - Braune, W. - Brown-Sequard - Burdon-Sanderson - Cleland - Darwin, F. - Exner, S. - Fick - Flower - Foster - Galton, F. - Gill - Goode, Brown - Hasse - Haughton - Heidenhain - Hering - Humphry - Huxley - Jensink - von Koelliker - von Kries - Lankester - Leidy - Lubbock, Sir J. - Ludwig - Mantegazza - Marey - Marshall - Meyer - Milne-Edwards - Mivart - Moleschott - Mosso - Munk - Mueller, Max - Owen, Sir R. - Pasteur - Pepper W. - Pettigrew - Rabl - Romanes - Rueckert - Schiff - Schuetz - Virchow, R. - von Voit - Wear-Mitchell - Wood - Wundt - von Zittell. - -PHYSICISTS, ETC. - - Abney - Blake - Blazerna - Bramwell, Sir F. - Bunsen - Ditscheiner - Edison - Glaisher - von Helmholtz - Huggins - Langley - Mach - Matthiessen - Quincke - Spottiswoode - Thomson, Sir W. - Vogel - Weber. - -MILITARY SCIENTISTS. - - Field Marshal Count von Moltke - General U. S. Grant - General W. T. Sherman - General P. H. Sheridan - General R. B. Hayes. - - * * * * * - -THE SCIENCE OF ZOOPRAXOGRAPHY. - -Made Popular by Suggestive Tracings from "Animal Locomotion." - ------- - -A series of FIFTY ENGRAVINGS, each of which illustrates from 12 to 15 -consecutive phases of some complete movement, photographed from life. - -The successive phases of each action are arranged in a circle NINE INCHES -IN DIAMETER; for reduced copies of some of which see appendix A. - -Printed on six-ply Bristol-board and enclosed in - -A STRONG CLOTH PORTFOLIO, - -size 10x12 inches; price, Five Dollars in the United States; or One Guinea -in Great Britain. - -Sent free of postage upon receipt of price, to any country within the -Universal Postal Union. - - EADWEARD MUYBRIDGE, - University of Pennsylvania, - Philadelphia, U.S.A. - Or, at 10 Henrietta Street, - Covent Garden, London. - - * * * * * - -To convert the circles of figures into a - - ZOOPRAXISCOPE, - -cut out the disc, and, radiating from the centre thereof, about midway from -the margin, cut or stamp thirteen equidistant perforations; each an inch -long, and about the sixteenth of an inch wide. - -Pin the centre of the disc to a handle and revolve it in the direction of -the arrow, at a distance of about twenty-four inches, in front of a mirror. - -By looking through the _upper_ series of perforations at the reflection of -the _lower_ series of figures, a semblance of the original movements of -life will be seen. - -The figures may be appropriately colored, and the back of the cardboard -disc should be painted a dark color, or covered with a piece of dark -surfaced paper before cutting the perforations. - - * * * * * - -DESCRIPTIVE ZOOPRAXOGRAPHY. - -An Elementary Treatise on Animal Locomotion, - -BY - -EADWEARD MUYBRIDGE. - ------- - -Illustrated with twelve consecutive phases--occurring during a single -stride--of each of the six regular progressive movements of the horse, -traced from the results of an investigation made by the Author for the -University of Pennsylvania. - -12 mo. bound in cloth. Price in the United States, One Dollar; in Great -Britain Four Shillings and Three Pence. - -Sent upon receipt of price, free of postage to any country within the -Universal Postal Union. - - EADWEARD MUYBRIDGE, - University of Pennsylvania, - Philadelphia, U. S. A. - Or 10 Henrietta Street, - Covent Garden, London. - - - - - - -End of Project Gutenberg's Descriptive Zoopraxography, by Eadweard Muybridge - -*** END OF THIS PROJECT GUTENBERG EBOOK DESCRIPTIVE ZOOPRAXOGRAPHY *** - -***** This file should be named 40215.txt or 40215.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/0/2/1/40215/ - -Produced by Mark C. 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