LOCOMOTION IN MAN 183 



gradual transition, and none of which were seen as 

 isolated expressions. 



Let us place the series of photographs in a zootrope 

 and watch them as they pass in succession before the 

 eyes as the instrument revolves at a convenient speed. 

 All the strangeness then disappears, and we only see 

 a man articulating in a perfectly natural way. What 

 does this fact imply ? Is it not that the ugly is only 

 the unknown, and that truth seen for the first time 

 offends the eye ? We are often faced by this question 

 while examining instantaneous chronophotographs of 

 horses moving at a great pace. 



These positions, as revealed by Muybridge, at first 

 appeared unnatural, and the painters who first dared 

 to imitate them astonished rather than charmed the 

 public. But by degrees, as they became more familiar, 

 the world became reconciled to them, and they have 

 taught us to discover attitudes in Nature which we 

 are unable to see for ourselves, and we begin almost 

 to resent a slight mistake in the delineation of a 

 horse in motion. How will this education of the eye 

 end, and what will be the effect on Art ? The future 

 alone can show. 



The Fall of Draperies. — The arrangement of draperies 

 played an important part in ancient Art. In the 

 masterpieces, whether of painting or sculpture, which 

 have been handed clown to us, the folds in the 

 materials are so conscientiously represented that they 

 have served as exact patterns of the different Greek 

 and Roman vestments. Our colleague Heuzey has 

 interested himself in these questions, and has in- 

 augurated a special course at the Ecole des Beaux Arts, 

 in which young artists are taught how to drape their 

 models correctly and gracefully. 



Fig. 121 shows a woman dressed in the Greek style, 

 and indicating the pose of the body in an ancient 



