INTRODUCTION 7 



pression of a horse's motion had been changed after a 

 careful study of its consecutive phases. 



It is scarcely necessary to point out, in conlirmation 

 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 Sci- 

 ence of Animal Locomotion in Its Relation to Design 

 in Art," given at the Royal Institution (see Proceed- 

 ings of the Royal Institution of Great Britain, March 

 13, 1882), the author exhibited the results of his exper- 

 iments 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 success- 

 ive foot fallings are invariable, and are prohcMy com- 

 mon to all quadrupeds 



"It is also probable that these photographic investi- 

 ofations — 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 ad- 

 vantages of recent chemical discoveries, will completely 

 unveil all the visible muscular action of men and ani- 

 mals even during their most rapid movements. . . . 



' ' The employment of automatic apparatus for the 



