196 MOVEMENT 



two illustrations. Firstly (Fig. 130), the attitude as 

 drawn from graphic analysis ; * secondly (Fig. 132), the 

 same as taken from photographs by Muybridge. This 

 comparison is not to the advantage of the first diagram, 

 in which it may be seen that the positions of the elevated 

 feet are in some ways very unnatural. These dis- 

 crepancies occur almost exclusively when an attempt 

 is made to represent galloping, for in this pace the 

 diagrams constructed from chronographic data alone 

 are particularly at fault. 



Chronography as applied to the Representation of the 

 Horse in Motion. —Everybody is familiar with Muy- 

 bridge's beautiful photographs, to which we have just 

 alluded. They have furnished exact evidence concern- 

 ing the movements of horses. Since instantaneous 

 photography has become so universal, there have been 

 published a considerable number of magnificent photo- 

 graphs, of which artists have made advantageous use ; 

 but the photographs taken in series are undoubtedly 

 the most instructive, as far as the sequence of the move- 

 ments is concerned. 



Considerable advantage accrues from the application 

 of our chronophotographic method to researches of this 

 kind. More portable than other cameras, ours is easily 

 carried about, whatever be the field of operations. It 

 gives the shortest exposure, and therefore the clearest 

 images. We have obtained on moving films some 

 extremely long series, which the restricted size of this 

 book does not permit us to reproduce in toto. 



Fig. 131 shows a horse at a walking pace. The 

 fragment here given only represents five consecutive 

 images out of a total of twelve, which comprise one 

 entire step, as measured from the moment the left hind 



* These diagrams are taken from La Machine Animale. Paris, 

 G. Bailliere, 1873. 



