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THB SCIENCE OF

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FOR THE PEOPLE

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LIBRARY

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THE AMERICAN MUSEUM

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NATURAL HISTORY

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Mr. EADWEARD IMUYBRIDGE,

University of Pennsylvania,

Phiiadelphia, U. S- A.

I herewith enclose draft of value Five Dollars, payable to your order.

for a copy of "THE SCIENCE OF ZOOPRAXOGRAPHY.
Made Popular by Suggestive Tracings from 'Animal

Locomotion,* " to be sent to me, as your prospectus describes.

I herewith enclose draft of value One Dollar, payable to your order.

for a copy of "DESCRIPTIVE ZOOPRAXOGRAPHY," to be

sent to me, as your prospectus describes.

Write the name and address in full and very distinctly.

If both of the above works are wanted, the price can be included in one
remittance ; if only one, obliterate the name of the work not wanted.

Upon receipt of order, the portfolio of plates, or the book, will be
securely packed, and mailed, postage paid, to any country within the Univer-
sal Postal Union.

Drafts or Post Office Orders should be made payable either in Phila-
delphia or New York.

If, however, it is more convenient for the subscriber to send in

payment a Draft or Post Office Order on London, England, it will be

accepted as full payment at the ratio of One Pound, One Shilling Sterling

as the equivalent of Five Dollars ; and Four Shillings and Three Pence of

One Dollar.

EADWEARD ilUYBRIDQE.

/ /

DESCRIPTIVE

ZOOPRAXOGRAPHY

OR THE SCIENCE OF ANIMAL LOCOMOTION
MADE POPULAR

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

2anitoer?itp of j^ennjfpttania
1893

Copyrighted, 1893,

BY

EADWEARD MUYB RIDGE

4

;^a./J

K. 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.

£yt^-X.^'^^''^-^Z'

II LIST OF SUBSCRIBEBS

TO ANIMAL LOCOMOTION. m

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IV LI8T OF 8UB80BIBEE8

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LIST OF 8UBSVE1BER8

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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 Ex-
position to give a series of Lectures on Zoopraxog-
RAPHY 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

1

38200

2 ZOOPRAXOGRAPIIY

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 uf students, known as the general public.

Under this impression he delayed his far Occi-
dental expedition and returned to Chicago to find a
commodious theater erected for this special purpose on
the groimds 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 18T2. 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 illus-
trate 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 Zoopraxog-
raphy 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 mo-
tion— the stride of a horse, while galloping for ex-
ample— which are analytically described. These suc-
cessive 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

PREFACE. 3

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 con-
tend 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 ob-
serve 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.

ZOOPBAXOQBAPHY

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 expres-
sion of animal movements.

The subject of this particular dispute was the possi-
bility 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 in-
tense 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 neg-
atives, with a celebrated fast trotter — *' Occident" —
as a model, while trotting at the rate of a mile in two

INTRODUCTION. 5

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 nega-
tive 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 succes-
sively 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 photo-

6 ZOOPRAXOGRAPHY

graphing required considerable time for its develop-
ment, 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 inves-
tigation 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 recep-
tion 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 im-

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

» ZOOPRAXOORAPHY

purpose of obtaining a regulated succession of photo-
graphic 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 o^reat interest manifested in the results of his
preliminary labors convinced the Author that a com-
prehensive 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 in-
disputable value to the Artist and to the Scientist. This
investigation and the subsequent publication in the
elaborate manner determined upon, assumed such im-
posing 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 Penn-
sylvania 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 prqmoting
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

INTRODUCTION 9

without their generous assistance the work would
probably never have been completed; the total amount
expended — nearly forty thousand dollars — being en-
tirely beyond his own resources. To Drs. F. X. Der-
cum, Geo. F. Barker and Horace Jayne, of the Univer-
sity, the Author is also indebted for much valuable
assistance.

10

ZOOPRAXOGRAPHY

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STUDIO, APPARATUS, AND METHOD OF
WORKING.

For a proper appreciation of tlie care taken in the
Investigation of Animal Locomotion at the University
of Pennsylvania to ensure accurate record of the con-
secutive phases of the various movements, attention to
the system adopted is necessary.

In the diagram, B is the Lateral background; con-
sisting 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 19f inches, square.

At C and C, 37 metres, or about 120 feet, apart
are ''fixed^^ backgrounds, with vertical threads 5 cen-
timetres, 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, ^'portaUe^^ backgrounds are used, consist-
ing 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 photo-
11

12 Z00PRAX0ORAPH7

graphing birds and horses, and also wild animals when
possible to do so.

L. A lateral battery of 24 automatic electro-photo-
graphic 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
po'rtable 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-pho;
tographic cameras, the lenses of which are IJ inches
diameter and 5 inches equivalent focus; the lenses are
arranged TJ 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 an^le of 90 deo^rees from the lateral
battery.

F. A battery of 12 automatic electro-photographic
cameras, similar to that placed at R, arranged horizon-

ARRANGEMENT OF APPARATUS 13

tally for "Front Foreshortcnings," the points of
view averaging an angle of 60 degrees from the
lateral battery.

O. The position of the operator; the electric bat-
teries; 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 illustra-
tions will commence.

An estimate having been made of the interval of
time which will be required, between each photo-
graphic exposure, to illustrate the complete movement,
or that portion of the complete movement desired, the
apparatus is adjusted to complete a succession of elec-
tric circuits at each required interval of time, and the
motor is set in operation. When the series is to illus-
trate jpTogressive 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

14 ZOOPRAXOGRAPHY

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 judg-
ment 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 syn-
chronously 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 uni-
formity 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 appa-
ratus devised and used by him may not be without in-
terest 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 Univer-
sity 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

APPARATUS.

15

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.

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

Fig. 1.

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 00 of suit-
able 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.

16

ZOOPRAXOGRAPHY

slior

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
htly indented
projection.

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 shift-
ing of the shoulder
from its contact with
the lever when the
exposor is ready for
Fig. 2. 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

APPARATUS

17

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 ten-
sion. Upon the com-
pletion 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 rap-
idly downward; the
apertures meet in the
center of the lens,
form a gradually ex-
panding and then con-
tracting diaphragm,
and the exposure is
made. A front view
exposors is seen in

Fig.

of three electro-photographic
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 mean-

18

ZOOPBAXOQRAPHY

while uncovered the lens to their full capacity.

Figure 4 illustrates a portable battery of twelve
electro-photographic exposors; it consists of a rectan-
gular box divided into compartments, open at the front
and rear.

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

Fig. 4.

cable of insulated wires for connecting the twelve mag-
nets 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 cur-
rents 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

APPARATUS

19

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.

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

20

ZOOPUAXOGRAPHY

the back of the exposing motor; other binding posts
are arranged for return or other currents.

Figure^T 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

iiiiiiij^^

Fig, 6.

brass; these segments are connected by insulated wires
to the twenty -four binding posts on the back of the
motor table, figure 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

APPARATUS

21

rod is firmly attached near

Fig. 7.

of the battery; and
each segment —
throuo^h its inde-
pendent wire and
magnet of the
electro - exposors —
with the other pole.
When twenty-
four conse c u t i V e
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.

its longitudinal center tc
this loose collar.
One arm of the rod
carries a lami-
nated metal scraper,
or contact brush,
arranged to travel
around the periph-
ery of the ring, and
in its revolution to
make contact with
each segment in suc-
cession. The con-
tact brush is con-
nected through the
arm with one pole

Fig. 7.

When twelve consecutive phases

22

ZOOPBAXOQRAPHT

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.

ANIMAL LOCOMOTION.

OIAGRAMOFfLECTRtCALCONNECTlONS:FORWAKINGCONSECLmVE*»MOTOGRAPHIC
eXP0SURESSYNCHR0N0USLY:FR0MSEVERALP0(NTSOr;VlEW

0 ei

MECHANISM FOR STARTWC
CONTACT-BRUSH

LrJ)ctidinetla,d^t

niiiiiiiiiiniiiiiiiiiiiiiiiiiik
iiftiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiihV

|l»|l|i|l|linil|l|l|l|l|l|l|i|l|K^

cBSSii^i

~D L

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.

APPARATUS 23

At the proper time, pressure on a button com-
pletes 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 (vas kept by a
chronograph, a well known instrument; it comprises a
revolving drum carrying a cylinder of smoke-black-
ened 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 com-
mencement of each photographic exposure. The num-
ber 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 investiga-
tion, the two batteries of portable cameras were placed

24 ZOOPEAXOGRAPHT

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 sychronous 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.

yMl\f\!\!\l\/[^^ — jyyVVWWWNATA

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 hoAvever 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

APPARATUS ' 25

of ground in a second of time; a full mile averaging
perhaps a hundred seconds. At this speed, a foot re-
covering 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 Penn-
sylvania, 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. Rondmella; the development room was in charge of
Henry Bell. The author takes pleasure in acknowl-

26 ZOOPRAXOGRAPHY

edging the skill, patience and energy which these gen-
tlemen 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 physiologi-
cal investigations, has recently made successive expos-
ures 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 NicTiolson'' s Journal by Petti-
grew in his work on Animal Locomotion that a com-
mon 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 en-
deavoring to overcome the obstacles in the construc-
tion of an apparatus for aerial navigation, will perhaps
some day be awakened by the fact that the only suc-
cessful 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 erro-
neous conceptions of many of those of modern times.

THE WALK 27

Certain phases of the facts of Animal Locomo-
tion 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 support-
ing 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 nec-
essary 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 move-
ment of the superior limb precedes the movement of

28

ZOOPRAXOORAPH Y

its lateral inferior limb. This is proved not merely
by the ordinary quadrupedal walk, but by the sus-
pended motion of the sloth; the crawling of the child
upon the ground, the erect walk of man; and the in-
verse 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.

If the notation of the foot-fallings commences
with the landing of the right hind foot, the order in

SOME CONSECUTIVE PHASES OF THE WALK.

TEE WALK 29

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 de-
volves 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 com-
pleted. We thus see that during the walk a quadruped
is supported by eight different methods, the support-
ing limbs being consecutively:

Both hind and left fore.

Right hind and left fore diagonals.

Rio^ht 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.

30 ZOOPRAXOORAPEY

When, therefore, during a walk, a horse is sup-
ported 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 alter-
nately 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:

THE AMBLE

31

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.

32 ZOOPRAXOGRAPHT

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 sjround,
the right hind leg is drawn forward with the pastern
nearly horizontal, while the left fore leg is flexed un-
der 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

THE TROT

33

until it is sometimes much in advance of its lateral
fore foot, the former, however, being gradually low-
ered, 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

SOME CONSECUTIVE PHASES OF THE TROT.

straigntened, 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.
With slight and immaterial diflferences, such as
might be caused by irregularities of the ground, these

34 ZOOPRAXOGRAPHY

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 trav-
ersed 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 ex-
ceeding 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
durino^ the fast trot the fore feet are lifted so hi^h 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

TEE RACK

35

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 de-
pends, 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

SOME CONSECUTIVE PHASES OF THE RACK.

landing, a hind foot usually precedes its lateral fore.

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 meth-
ods of progression which cannot be so divided, and
each stride must be considered as a unit of motion.

36 ZOOPRAXOGRAPHY

THE CANTER.

In the canter we discover the same sequence of foot
fallings as in the walk, but not with the same harmoni-
ous 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 pro-
gression.

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 com-
plete stride, in which the landing occurs on the right

THE CANTER

37

hind foot. Had the horse sprung from a right fore
foot, the right and left feet would have been reversed
through the entire series.

^

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

38 ZOOPBAXOGRAPHT

body is carried forward without support depend upon
many circumstances, such as the breed, build and con-
dition of the horse, speed, track, etc.

The phases illustrated and the measurement given
apply to one stride of one horse, but may be consid-
ered 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 ele-
vation, 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.

The ri2:ht hind foot strikes the orround 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, immedi-
ately 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,

THE GALLOP

39

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

SOME CONSECUTIVE PHASES OP THE GALLOP.

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 pro-
pulsion, 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

40 ZOOPRAXOQRAPHT

foot during the rapid gallop of. a thoroughbred horse,
it is supported conbecutively by

The left hind foot.

Both hind feet.

The right hind foot.

The rio^ht 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 com-
paratively little independent motion; this phase, there-
fore, 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 interpreta-
tion, 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 unneces-
sarily 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 lift-
ins of one fore foot and the descent of the other, but
it has not yet been demonstrated.

THE GALLOP 41

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 fall-
ing and the action of the body is materially different,
and the animal is free from support twice in each
stride.

Assumino^ that a racinof hound after a fiioht throuo^h
the air with elongated body and extended legs (like the

THE GALLOP OF THE DOG.

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

42 ZOOPRAXOORAPHT

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 freneral char-
acteristics 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 ex-
ercised its last energy alone.

On the descent, the concussion was always first
received by one fore foot, followed more or less rap-
idly 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.

THE LEAP 43

No attempt will be iiuide to laialyze 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 com-
plex 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 ac-
count 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

44 ZOOPRAXOGRAPHY

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

OE

THE SCIENCE OF ANIMAL LOCOMOTION IN ITS RELA-
TION 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 ex-
posures 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 Pre-
historic 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; Mar-
cus Aurelius in London, Edinburgh, Glasgow, Dublin,
Paris, Berlin, Amsterdam, New York, Boston, and many

1

2 THE ZOOPBAXISCOPE

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 Gal-
lop— 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 Fly-
ing, and a solution of the complex problem of Soaring.

After the various methods of locomotion Aave been
demonstrated by analysis, they will be represented syn-
thetically by the zoopraxiscope.

ZOOPBAXOQBAPHY

Among tJie many Institutions where Mr. Muyhridge has had the
honor of Lecturing on

ZOOPRAXOGRAPHY

ai'e 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.

Yorkshif e 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. Meis«onier in Paris, Etc., Etc., Etc.

And at all the principal Institutions of Art, Science, Education and
Learning in the United States of America.

THE ZOOPRAXISGOPE

1 Athlete, Horse-back Somersault.

ABBREVIATED CRITICISMS.

"On Monday last, in the theatre of the Royal Insti-
tution, a select and representative audience assembled to
witness a series of the most interesting demonstrations of
Animal Locomotion given by Mr. Miiybridge.

"The Prince and Princess of Wales, Princess Victo-
ria, Louise, and Maud, and the Duke of P^dinburgh hon-
ored 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

Z00PRAX00RAPH7

3. Athletes Boxing.

Tyndall; and last, not least, Lord Tennyson, poet lau-
reate.

''Mr. Muybridge exhibited a large number of photo-
graphs of horses galloping, leaping, etc. . . . By
the aid of an astonishing apparatus called a Zoopraxi-
scoPE, which may be briefly described as a magic lantern
run mad (with method in the madness), the animals
talked, cantered, ambled, galloped, and leaped over hur-
dles 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

THE ZOOPRAXISGOPE

3. Athletes Running.

wizard. . . . After the horses came dogs, deer, and
wild bulls. Finally man appeared (in instantaneous pho-
tography) on the scene, and ran, leaped, and turned back
somersaults to admiration." — George Augustus Sala in
Illustrated London News.

"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 ani-
mal movements. Our leading biologists and artists have
at once perceived and acknowledged the vast importance
of the results of his work/' — The Times, London.

ZOOPRAXOORAPHY

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 inter-
est 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.

THE ZOOPRAXISGOPE

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 Jteview, London.

'< Mr. Muybridge delighted his audience with his won-
derful photographs." — The Times, London.

" . . . Last night Mr. Muybridge gave his final
lecture in Newcastle on <The Science of Animal Locomo-
tion,' with the whole of the wonderful illustrations; the
Art Gallery being again crowded to excess." — Newcastle
Chronicle.

ZOOPRAXOGRAPH Y

11. Athletes. Base Ball; Batting.

*' A photographic achievement which seemed to me ac
the time pcarce credible, and which I was presently assured
by one of our ablest English photographers was abso-
lutely outside the bounds of possibility." — Professor
R. A. Proctor in the Gentlemaii^s Magazine.

'*At tlie conversazione of the Royal Society much in-
terest was excited by Mr. Eadweard Muybridge's lecture.
The ZooPKAXTscorE afforded the spectator an opjjortunity
of Htudying by synthesis, the facts of motion which are
also demonstrated by analysis." — Illustrated London
N'eios.

10

THE Z00PRAXI8G0PE

14. Boys Playing Leap-frog.

"A really marvellous series of plates."— Nature,
London.

" Artistic people are all talking about Mr. Muybridge,
who lias come hither with that rare desideratum — some-
thing iiew^ — London Correspoxdexce, Philadelphia
Times.

" It is imi)Ossible to do justice in this short time to the
extraordinary exhibition given by Mr. Muybridge at the
Institute of Technology. . . . The interest they ex-
cite in the mind of the spectator is indescribable." — Sun-
day Gazette, Boston,

ZOOPRAXOORAPHT

11

16. Children Eunning.

'^The photographs have solved many complicated
questions as to animal locomotion." — Art Journal, Lon-
don.

*'The effect was weird, yet fascinating. Plaudit fol-
lowed plaudit. A better pleased assemblage of j^eople it
would be difficult to find." — Boston Journal.

'' . . . Mr. Muybridge then gave his famous lec-
ture and demonstration on Animal Locomotion. The hall
(St. James' ) was crowded, and many were unable to ob-
tain seats." — Report of the Photographic Convention,
British Journal of Bhotography.

12

THE ZOOPRAXISCOPE

17. Elephant Amblikg.

** A demonstration that vividly interests all the world."
— U' Illustration^ Paris.

"Many of these pictures have great — indeed, astonish-
ing— beauty. The interest which they present from the
scientific point of view is three-fold : — (c/) They are im-
portant as examples of a very nearly perfect method of
investigation by photographic and electrical appliances.
iV) 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." —
Pkof. E. Ray Lankestee, F. R. S., in Nature,

ZOOPRAXOQRAPHY

13

18. Lion Walking

" Mr. Meissoiiier's critical guests were evidently scep-
tical as to tlie 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, evident-
ly cared little for personal compliments; he was anxious
for the well-deserved distinction of his^^ro^^e^e Muybridge.
' C'est merveilleusement arrange!' said Alex-
andre Dumas. ' C'est que la nature compose cranement
bien! ' replied Meissonier." — Le Temps, Paris.

14

THE Z00PRAXI8G0PE

20. Egyptian Camel Racking.

''The sensation of the day, and the topic of popular
conversation." — J3osto7i Daily Advertiser.

"The rapid movements by different animals were most
interesting: and hurdle-racing by horses — the very whip-
j^ing process being visible— brought down the house." —
Boston Herald.

" On revolvino; the instrument, the fissures 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 immedi-
ately visible." — The Fields London,

ZOOPRAXOGRA PUT

15

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' Edin-
burgh 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.

16

THE Z00PRAXI8C0PE

22. Kangaroo Jumping.

"The lecture theatre of the Royal Academy of Arts
was filled to overflowing." — Athenceum, 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 Exjyress, Dublin.

"The result of years of labor, and of large expendi-
ture of money is at last laid before the public in this mag-
nificent work, and the result is one of which Mr. Muy-
bridge and the University of Pennsylvania may well be
proud." — Evening Post, New York.

Z00PBAX0GRAPH7

17

23. Buffalo Galloping.

- A Lecture of an exceptionally interesting character."
—JSrottingham 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 ap-
plause."—2Vie Scotsman, Edinburgh.

-In all my long experience of London life I cannot
recall a single instance where such warm tributes of admi-
ration have been so unsparingly given by the greatest^m
the land, as in the case of Mr. Muybridge's lectures. -
OiivELoGAKinthe Jfomm^ Call, San Francisco.

18

THE ZOOPRAXISGOPE

24. Elk Galloping.

''Mr. Muybridge illustrated his lecture with a series
of most valuable photographs, as well as that most fasci-
nating of scientific toys — the Zoopraxiscope." — Maga-
zine of Art, London.

"Ilis 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 signifi-
cance, . . ." — Saturday Revieio, London.

ZOOPRAXOOBAPHT

19

25. Monkeys Climbing a Cocoa Palm.

<< No parallel in the history of photography.'^ — Pho-
tographic 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 Tran-
script, Boston.

' ' The audience was astonished and delighted at the
marvellous demonstrations of Animal Locomotion that
were brought before them. . . . The most remarka-
ble feature of the British Association meeting this year."
— Newcastle Journal.

20

THE Z00PRAXI8C0PE

). Greyhound Galloping,

"The effects of the Zoopraxiscope made up one of
the most unique and instructive entertainments imagina-
ble."— Boston Daily Globe.

"A more curious, entertaining, and suggestive exhibi-
tion it has not been our good fortune for a longtime to
attend." — Sacramento Record- Unio7i.

"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." — En-
gineeriiKj, London.

ZOOPRAXOGRAPHY

21

29. Mule, Bucking and Kicking.

"Simply marvels of the photographer's art." — Mer-
cury, Leeds.

' ' Not the least instructive part of the Lecture was the
contrast between the j^ositions of animals as shown in
ancient and modern art, with their true positions as shown
by themselves in the camera." — N'ew York Tribune.

"Professor Marey invited to his residence a large
number of the most eminent men in Europe for the pur-
pose of meeting Mr. Muybridge, and witnessing an exhi-
bition that should be placed before the whole Parisian
public." — Le Globe, Paris.

22

THE Z00PRAX18C0PE

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^ Phila-
delphia.

"The aj^plause 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 re-
sources made available for the use of artists."" — Galig-
nani^s Messenger., Paris.

"Of immense interest and value." — Lippincotfs Mag-
azine, Philadelphia.

ZOOPBAXOGEAPHT

23

34. Grecian Dancing Girls

''The ZooPRAxiscoPE is the latest, most unique, and
instructive form of amusement possible. "-Commerc^W
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.

24

TEE ZOOPRAXISGOFE

39. Horse Trotting (fast).

"The Lecturer j^roceeded to show enlarged photo-
graphs 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 interest-
ing 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 \mrt of his audience, who
were neither the one or the other." — Birmingham Daily
Gazette.

ZOOPRAXOORAPHY

25

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. Muy-
bridge's researches." — Belfast News Letter.

' ' Mr. Muybridge might well be proud of the recep-
tion 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 Mems, JOondan. .^

26

THE ZOOPBAXISGOPE

42. Horse Galloping

'*The illustrations are truly wonderful, and the rapid
changing positions were most instructive." — Nottinghatn
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.

ZOOPRAXOORAPHT

27

^#'1#-

43. Horse Jumping.

"Avery 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."— Cm^wry
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.

28

THE Z00PRAXI8C0PE

44. Horse Hauling.

<*The audience filled the large hall, and by their fre-
quent 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 deliv-
ered in Birmingham." — Birmingham Daily Gazette.

**The attendance was exceedingly large^ and the Lect-
ure and admirable illustrations were loudly applauded."
— The Irish Times, Dublin.

ZOOPRAXOQBAPHT

29

45. Columbian Exposition Horse Race, Galloping.

"There was a very large attendance, and seldom Iiave
we seen so m.ucli genuine admiration and enthusiasm dis-
played 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.

50

THE Z00PRAXI8G0PE

46. Columbian Exposition Horse Race, Trotting

" Wonderful and interesting demonstration; its influ-
ence will become more and more potent and universal as
the years go on." — Arr/us, Albany.

*' Will necessarily revolutionize the treatment of the
action of the horse in j)ainting and sculpture. For the
physiological study of animal movements these pictures
are a verita]>le treasure." — Landioirthschaftliche-Zeitung,
'Vienna.

" I am lost with admiration of these photographs of
Mr. Muybridge." — Professor Marey, in La Nature^
Paris.

ZOOPRAXOORAPHY

31

47. Columbian Exposition Speedway.

'< Interesting and instructive to all." — New York
Herald.

"Highly interesting and valuable for every lover of
horses." — Illustrirte Zeitimg, Berlin.

" We cannot more fittingly conclude our review than
by repeating our recommendation of the work to all artis-
tic and scientific bodies." — The Nation., New York.

" So perfect was the synthesis chat a dog in the lecture
room barked and endeavored to chase the phantom horses
as they galloped across the screen." — Berkeley Weekly
News.

32

THE ZOOPEAXTSCOPE

48. Village Blacksmiths.

*' Noted artists, such as Menzel, Knaus, Begas; eminent
scientists, such as von Helmholtz, Siemens and Forster
and even the imperturbable field-marshal, Count von
Moltke, were enthusiastic in their applause." — Illusirirte
Zeitung.

*' A very large number could not obtain admission, so
sreat was the desire to hear the lecture. ... A won-
derful 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

ZOOPEAXOGRAPn T

33

49. A Fan Flirtation.

scientific accuracy and artistic taste The

room was filled to the last corner; nearly all the Royal
Family and the Ministers were present." — Munchener
Neiieste N^achrichten, Munich.

''After attending Mr. Muybridge's demonstrations, we
felt no surprise at his having been received so enthusi-
astically 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." — Worddeutsch
Allgem Zeitung, Berlin.

" Some lectures are too technical for the general public.

34

THE Z00PRAXT8G0PE

50. Athlete, Running Long Jump.

Here is one in whicli 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.

' ' So great an interest did the demonstrations excite that
Mr. Muybridge was unanimously requested to repeat them.
Two days afterward this distinguished company, includ-
ing the venerable Field-Marshal (Count von Moltke)
himself, attended a repetition of the lecture." — Illustrirte
Zeituny.

APPENDIX B.

ANIMAL LOCOMOTION.

DESCRIPTION OF THE PLATES.

The results of the investigation executed for the Uni-
versity of Pennsylvania are

SEVEN HUNDRED AND EIGHTY-ONE SHEETS OF ILLUS-
TRATIONS,

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 ap-
paratus at regulated and accurately recorded intervals of
time, consecutively from one point of view; or, consecutively
AND synchronously from tvio^ 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.

1

ZOOPRAXOORAPHY

ANIMAL LOCOMOTION

4 M

ZOOPRAXOORAPH T

When one of tlie 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

1

2

3

4

5

6

7

8

9

10

11

12

1

2

3

4

5

6

7

8

9

10

11

12

Laterals.

Rear Foreshortenings
from points of view on
the same vertical line,
at an angle of 90 deg.
from the Laterals.

Front Foreshortenings
from points of view on
the same horizontal
plane, at suitable an-
gles from the Laterals.

The plates are T^ot photographs in the common accepta-
tion of the word, but are printed in Permaxext 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 pub-
lication, will be considered as a "copy" of the work.
These one hundred plates will probably meet the require-
ments of the greater number of the subscribers.

In accordance with this view is re-issued the following
prospectus.

ANIMAL LOCOMOTION

PROSPECTUS

ANIMAL LOCOMOTION,

AN ELECTRO-PHOTOGRAPHIC INVESTIGATION OP CONSECUTIVE
PHASES OF ANIMAL MOVEMENTS,

BY

EADWEARD MUYBRIDGE.

Commenced, 1872— Completed, 1885.

Published 1887, Undek the Auspices of the

UNIVERSITY OF PENNSYLVANIA.

Exclusively by Subscription.

CONSISTING OF A SEEIES 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 sup-
plied 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

6 ZOOPRAXOORAPHY

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 selec-
tion 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

i>. Movements of a man's hand 5

10. Abnormal movements, men and women, nude

andsemi-nude 27

11. Horses walking, trotting, galloping, jumping, &c. 95

12. Mules, oxen, dogs, cats, goats, and other do-

mestic 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 sub-
ject or plate is required it will be more satisfactory to the
subscriber if he gives the Author GENERAL IN-

ANIMAL LOCOMOTION 7

STRUCTIONS as to the CLASS of subjects desired and
to leave the SPECIFIC selection to him.

Many of the large Libraries and Art or Science insti-
tutions 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 acquir-
ing 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 Locomo-
tion," which have been published in the American, Eng-
lish, 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 stu-

ZOOPRAXOGRAPHT

dent 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.

The general

or departmental Libraries of

UNIVERSITIES.

the following

Amsterdam

Freiburg

Konigsberg

Prag

Andrews, St.

Geneve

Leiden

Roma

Basel

Genova

Leipzig

Rostock

Berlin

Glasgow

Liege

Strassburg

Bern

Gottingen

Louvain

Torino

Bologna

Griefswald

MUnchen

Tubingen

Bonn

Halle

Napoli

Utrecht

Breslau

Heidelberg

Oxfcrd

Wien

Bruxelles

Inn sbr lick

Padova

WUrzberg

Edinburgh

Jena

Pisa

ZUrich

Erlangen

Kiel

IMPERIAL, NATIONAL, OR ROYAL ACADEMIES

OF FINE ARTS,

Amsterdam

Budapest

Liege

Roma {de

Antwerpen

Dresden

London

France)

Berlin

Diisseldorf

Manchester

Sheffield

Bern

Firenze

Milano

Torino

Birmingham

Frankfurt

MUnchen

Venezia

Bologna

Genova

Napoli

Wien

Breslau

Gent

Paris

ZUrich

Bruxelles

Leipzig

Praha

Architectural

Institute, MUnchen

Herkomer School of Art, Bushey

ART MUSEUMS.

Amsterdam Berlin Budapest

ARCH^OLOGICAL INSTITUTES AND MUSEUMS,

Dresden KOnigsberg Rostock Wurzburg

ANIMAL LOCOMOTION

Griefswald Leipzig Strassburg Zurich

Heidelberg Prag Wien

INDUSTRIAL ART AND SCIENCE MUSEUMS.

Berlin
Dublin

Amsterdam
Breslau

Edinburgh
Kensington

Paris

Wien

INDUSTRIAL ART SCHOOLS.

Budapest Nilrnberg Ziirich

Frankfurt

LIBRARIES.

The Royal Library, Windsor Castle.
Imperial Library, Berlin.
Birmingham, Free Public London, British Museum
Edinburgh, Advocates' Manchester, Free Public

Glasgow, Mitchell Free Nottingham, Free Public

Liverpool, Free Public Paris, National Library

Bern
Breslau
Freiburg
Halle

Edinburgh

ANATOMICAL INSTITUTES.

Innsbriick Miinchen Tiibingen

Kiel Pisa Wlirzburg

KSnigsberg Prag Ziirich

Leipzig Rostock

ROYAL COLLEGES OF SURGEONS.

London

PHYSIOLOGICAL INSTITUTES.

Basel

Freiburg

Kiel

Strassburg

Berlin

Genova

Konigsberg

Torino

Bern

Gottingen

Leipzig

Tubingen

Bologna

Griefswald

Louvain

Wien

Bonn

Halle

Miinchen

Wlirzburg

Breslau

Heidelberg

Napoli

Ziirich

Bruxelles

Innsbriick

Prag

Erlangen

Jena

Rostock

10 ZOOPRAXOORAPHT

VETERINARY INSTITUTES.

Alfort Bern Berlin Dresden London

ANTHROPOLOGICAL MUSEUMS.

Dresden Firenze

ETHNOLOGICAL, NATURAL HISTORY, AND ZOOLOGICAL
INSTITUTES AND MUSEUMS.

Amsterdam

Kiel

Liege

Paris

Bruxelles

Leiden

Napoli

Rostock

Freiburg

PHYSICAL

INSTITUTES.

Basel

Geneve

Prag

Rostock

Bologna

Heidelberg

Roma

Utrecht

Bruxelles

Padova

POLYTECHNIC HIGH SCHOOLS.

Berlin Firenze Wien ZUrich

COLLEGES.

Charterhouse Clifton Dublin (Trin.

Eton Owens Wellington

ROYAL PORCELAIN MANUFACTORIES.

Berlin Dresden

ARTISTIC, LITERARY OR SCIENTIFIC CLUBS.

Dlisseldorf, Malkesten London, Athenceiim,

Glasgow, Western 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

ANIMAL LOCOMOTION H

DEPARTMENTS OF THE U. S. GOVERNMENT.

Bureau of Education National Museum

Bureau of Engraving Patent Office

Bureau of Ethnology Smithsonian Institution

Department of War Surgeon General's Office.
Library of Congress

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.

12

ZOOPRAXOORAPHY

UNIVERSITIES AND COLLEGES.

Brown Johns HopkinsNebraska Vassar

Columbia. Kansas New York Vermont

Cornell Lehigb Pennsylvania Wellesley

Harvard Minnesota Princeton Yale

Baltimore — Peabody
Boston — Athenseum
Boston — Public
Brooklyn — L. I. Historical
Brooklyn Library
Chicago — H istorical
Chicago — Public
Cincinnati — Public
Denver — Mercantile
Harlem Library
Massachusetts — State

LIBRARIES.

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 uni-
versity distinctions being omitted — are the following :

ARCHITECTS, PAINTERS OR SCULPTORS.

Alma-Tadema Faed Marks Roth

Armitage

Fildes

du Maurier

Riimann

Becker

Falguiere

Meissonier

St. Gaudens

Begas

Fremiet

von Menzel

Schilling

Bonnat

Frith

Millais, Sir J. E. Siemering

ANIMAL LOCOMOTION

13

Boughton

Garnier

Morot

Story

Bouguereau

Gerome

Munkacsy

Thornycroft

Bridgman

Gilbert

Orchardson

Tiffany

Burnham

Gordigiani

Ouless

Vibert

Carolus —

Gow

Parsons

Vinea

Duran

Herkomer

Passini

Villefroy

Cavelier

Hunt, Holman Poynter

Wagner

Conti, Tito

von Kaulbach

Puvis, de Ch

Watts

Dalou

Knaus

Richardson

Ward,

von Defreggei

• Knight

Richmond

Wells

Detaille

Kopf

Riviere-Briton Weeks

Dubois

Leigbton, SirF. Robert-Fleury

von Werner

Eisenmenger

von Lenbach

Rodin

Whistler

Ende

von Lsfftz

Roll

Ziigel.

ARCH^OLOGISTS, AUTHORS OF ART WORKS, ETC.

von Berlepsch

von Kekule Pulszky

Bullen

Klein

Ruskin

von Duhn

Muntz

diSambuy, Conte

Ewald

Overbeck

Smith,

Gen.SirR.M.

Falke

Pietsch

Treu

Furness, H. H

'. Preuner

Wolff,

Albert.

ANATOMISTS, AXTHROPOLOGISTS, BIOLOGISTS, ETHNOLO-
GISTS, PALEONTOLOGISTS, PATHOLOGISTS, PHYSIOL-

OGISTS, PSYCHOLOGISTS,

Acland, Sir H. W. Ilaughton
Agassiz, A. Heidenhain

Barrier Hering

du Bois-Reyniond Humphry
Bowditch Huxley

Bowman, Sir W. Jensink
Braune, W. von Kolliker

Brown-Sequard von Kries
Burdon-Sanderson Lankester

ZOOLOGISTS, ETC.

Mosso

Miiller, Max
Munk

Owen, Sir R.
Pasteur
Pepper W.
Pettigrew
Powell
Rabl

14

ZOOPRAXOORAPHY

Cleland

Leidy

Romanes

Darwin, F.

Lubbock, Sir J.

Rilckert

Exner, S.

Ludwig

Schiff

Fick

Mantegazza

Schiitz

Flower

Marey

Yirchow, R.

Foster

Marshall

von Voit

Gallon, F.

Meyer

Wear-Mitchell

Gill

Milne-Edwards

Wood

Goode, Brown

Mivart,

Wundt

Hasse

Moleschott

PHYSICISTS, ETC.

von Zittell.

Abney

Edison

Matthiessen

Blake

Glaisher

Quincke

Blazerna

von Helmholtz

Spottiswoode

Bramwell, Sir F.

Huggins

Thomson, Sir W.

Bunsen

Langley

Vogel

Ditscheiner

Macli

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 illus-
trates from 12 to 15 consecutive phases of some com-
plete 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
equidistont 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 tipper series of perforations
at the reflection of the lower series of figures, a sem-
blance 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 Muybeidge.

Illustrated with twelve consecutive phases — occurring
during a single stride — of each of the six regular progres-
sive 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.

/j22,/3