,illustration    ,,descriptive          
,,zoopraxography    ,,or ,,the ,,science
 ,,of ,,animal ,,locomotion  ,,made     
,,popular    ,,by    ,,eadweard         
,,muybridge    ,,with ,,selected        
,,outline ,,tracings ,,reduced ,,from   
,,some ,,of  ,,the ,,illustrations ,,of 
,,animal ,,locomotion    ,,an           
,,electro-,,photographic ,,investigation
 ,,of ,,consecutive  ,,phases ,,of      
,,animal ,,movements1 ,,commenced #ahgb1
  ,,completed #ahhe1 ,,and ,,published  
#ahhg1  ,,under ,,the ,,auspices ,,of   
,,the    ,,university ,,of              
,,pennsylvania           99       99    
99       99       99    ,,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 ,,exposition1    
,,in ,,zoopraxographical ,,hall    #ahic
           99       99       99       99
       99    ,,university ,,of          

,,pennsylvania  #ahic           99      
99       99       99       99           
,,copyrighted1 #ahic1  ,,by  ,,eadweard 
,,muybridge    ,the ,lakeside ,press    
,r4 ,r4 ,,donnelley  ,,sons ,,co41      
,,chicago           99       99       99
       99       99    ,,some ,,of ,,the 
,,subscribers  ,,to  ,,animal           
,,locomotion4  ,,the ,,original         
,,autographs ,,are ,,on ,,the           
,,subscription ,,book  ,,in ,,the       
,,possession ,,of ,,the ,,author4       
,illustration           99       99     
99       99       99      ,illustration 
,,preface4    ,in the summer of #ahib   
while the ,author was in ,california1   
preparing for a  ,lecturing tour through
 ,australia and ,india1 he received an  
invitation from  the ,fine ,arts        
,commission of the ,world's ,columbian  
,exposition to give a  series of        
,lectures on ,,zoopraxography in        
association with the ,exposition now    
being held in ,chicago4    ,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 ,art1    
,science and ,education in  ,europe and 
in the ,united ,states1 7see appendix   
,a7 the ,author was induced to  believe 
that they might be repeated in a popular
 manner at the ,exposition1  with some  
appreciation of the importance of the   
facts which his  investigation has      
revealed1 not merely by the student of  
,nature or of ,art1  but by that large  
and important class of students1 known  
as the general  public4    ,under this  
impression he delayed his far           
,occidental expedition and returned  to 
,chicago to find a commodious theater   
erected for this special purpose on  the
 grounds of the ,exposition1 to which   
the name of ,zopraxographical ,hall  had
 been given2 the ,science of            
,zopraxography having had its origin in 
the  ,author's first experiments in     
#ahgb4 ,it is not intended in this      

monograph to  give more than a synopsis 
of the usual course of ,lectures on the 
subject1  nor to reproduce any of the   
pictured or sculptured representations  
which  are necessary for its proper     
elucidation1 but merely to describe the 
common  methods of limb action adopted  
by quadrupeds--especially by the        
horse--in  their various acts of        
progressive motion1 and to illustrate   
the most  important phases of these     
movements by tracings from the original 
photogravures of the ,author's work4    
,in the presentation of a ,lecture on   
,zopraxography the course usually       
adopted is to project1 much larger than 
the size of life upon a screen1 a       
series of the most important phases of  
some act of animal motion--the  stride  
of a horse1 while galloping for         
example--which are analytically         
described4 ,these successive phases are 
then combined in the ,zopraxiscope1     
which is set in motion1 and a           
reproduction of the original movements  

of  life is distinctly visible to the   
audience4    ,with this apparatus1      
horse-races are reproduced with such    
fidelity that the  individual           
characteristics of the motion of every  
animal can readily be  seen2 flocks of  
birds fly across the screen with every  
movement of their  wings clearly        
perceptible2 two gladiators contend for 
victory with an  energy which would     
cause the arena to resound with wild    
applause1 athletes  turn somersaults1   
and other actions by men1 women and     
children1 horses1  dogs1 cats and wild  
animals1 such as running1 dancing1      
jumping1 trotting  and kicking1 are     
illustrated in the same manner4 ,by this
 method of analysis  and synthesis the  
eye is taught how to observe and to     
distinguish the  differences between a  
true and a false impression of animal   
movements4 ,the  ,zopraxiscopical       
exhibition is followed by illuminated   
copies of paintings  and sculptures1    
demonstrating how the movement has been 

interpreted by the  ,artists of all     
ages2 from the primitive engravers of   
the cave dwelling  period1 to the most  
eminent painters and sculptors of the   
present day4           99       99      
99       99       99    ,,introduction4 
,in the year #ahgb1 while the ,author   
was engaged in his official duties as   
,photographer of the ,united ,states    
,government for the ,pacific coast1     
there  arose in the city of ,san        
,francisco one of those controversies   
upon ,animal  ,locomotion1 which has    
engaged the attention of mankind from   
the dawn of  symbolical design1 to the  
present era of reformation in the       
artistic  expression of animal          
movements4    ,the subject of this      
particular dispute was the possibility  
of a horse  having all of his feet free 
of contact with the ground at the same  
instant1  while trotting1 even at a high
 rate of speed1 and the disputants were 
,mr4  ,frederick ,mac,crellish and the  
,hon4 ,leland ,stanford4    ,the        

attention of the ,author was directed to
 this controversy and he  immediately   
sought the means for its settlement4    
,at this time the rapid dry plate had   
not yet been evolved from the           
laboratory of the chemist1 and the      
problem before him was to develop a     
sufficiently intense and contrasted     
image upon a wet collodion plate1 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 time1 should be  photographed 
practically sharp4    ,a few days'      
experimenting and about a dozen         
negatives1 with a celebrated  fast      
trotter--,occident--as a model1 while   
trotting at the rate of a mile  in two  
minutes and sixteen seconds1 laterally  
in front of the camera1  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 ground4 ,with

 a knowledge of the  fact that some     
horses while trotting will make a stride
 of twenty feet or  more in length1 it  
is difficult to understand why there    
should ever have  been any difference of
 opinion on the subject4    ,these first
 experiments of ,zopraxography were made
 at ,sacramento1  ,california1 in ,may1 
#ahgb4 ,a few impressions were printed  
from the selected  negative for private 
distribution1 and were commented upon by
 the ,alta  ,california1 a newspaper    
published in ,san ,francisco4    ,thus  
far the photographs had been made with a
 single camera1 requiring a  separate   
trotting for each exposure4 ,the horse  
being of a dark color and  the          
background white1 the pictures were     
little better than silhouettes1 and  it 
was difficult to distinguish1 except by 
inference1 the right feet from  the     
left4    ,several phases of as many     
different movements had been            
photographed1 which  the ,author        
endeavored with little success to       

arrange in consecutive order  for the   
construction of a complete stride4      
,it then occurred to him that if a      
number of cameras were placed in a line1
  and exposures effected successively in
 each1 with regulated intervals of  time
 or of distance1 an analysis of one     
single step or stride could be  obtained
 which would be of value both to the    
,scientist and the ,artist4    ,the     
practical application of this system of 
photographing required  considerable    
time for its development1 and much      
experimenting with  chemicals and       
apparatus4    ,it being desirable that  
the horses used as models should be     
representatives  of their various       
breeds1 and the ,author not being the   
owner of any that  could be fairly      
classed as such1 obtained the coperation
 of ,mr4 ,stanford1  who owned a fine   
stud of horses at his farm at ,palo     
,alto1 and there  continued his labors4 
,the apparatus used at this stage of the
 investigation was essentially the  same

 as that subsequently constructed for   
the ,university of ,pennsylvania1  the  
arrangement of which will be described  
further on4    ,some of the results of  
these early experiments which           
illustrated successive  phases of the   
action of horses while walking1         
trotting1 galloping1 c41  were published
 in #ahgh1 with the title of ,the ,horse
 in ,motion4 ,copies of  these          
photographs were deposited the same year
 in the ,library of ,congress  at       
,washington1 and some of them found     
their way to ,berlin1 ,london1 ,paris1  
,vienna1 c41 where they were criticized 
by the journals of the day4    ,in #ahhb
 the ,author visited ,europe and at a   
reception given him by ,monsieur        
,meissonier was invited by that great   
painter to exhibit the results of his   
labors to his brother ,artists who had  
assembled in his studios for that       
purpose4 ,m4 ,meissonier was the first  
among ,artists to acknowledge the value 
to ,art design of the ,author's         

researches2 and upon this occasion1     
alluding  to a full knowledge of the    
details of a subject being necessary for
 its  truthful and satisfactory         
translation by the ,artist1 he declared 
how much  his own impression of a       
horse's motion had been changed after a 
careful  study of its consecutive       
phases4    ,it is scarcely necessary to 
point out1 in confirmation of ,m4       
,meissonier's  assertions1 the          
modifications in the expression of      
animal movements now  progressing in the
 works of the ,painter and the          
,sculptor1 or to the fact of  their     
being the result of studious attention  
to the science of  ,zopraxography4      
,in the same year1 during a lecture on  
,the ,science of ,animal ,locomotion in 
,its ,relation to ,design in ,art1 given
 at the ,royal ,institution 7see        
,proceedings of the ,royal ,institution 
of ,great ,britain1 ,march #ac1 #ahhb71 
the author exhibited the results of his 
experiments at ,palo ,alto1 when he1    

with the ,zopraxiscope and an           
oxy-hydrogen lantern1 projected on the  
wall a  synthesis of many of the actions
 he had photographed4    ,it may not be 
considered irrelevant if he repeats what
 he on that occasion  said in his       
analysis of the quadrupedal walk3--     
,so far as the camera has revealed1     
these successive foot fallings are      
invariable1 and are probably common to  
all quadrupeds4444    ,it is also       
probable that these photographic        
investigations--which were  executed    
with wet collodion plates1 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 horse1   
and future and more  exhaustive         
experiments1 with the advantages of     
recent chemical discoveries1  will      
completely unveil all the visible       
muscular action of men and animals  even
 during their most rapid movements4444  
,the employment of automatic apparatus  

for the purpose of obtaining a          
regulated succession of photographic    
exposures is too recent for it to be    
generally used for scientific experiment
 or for its advantages to be  properly  
appreciated4 ,at some future time the   
philosopher will find it  indispensable 
for many of his investigations4    ,the 
great interest manifested in the results
 of his preliminary labors  convinced   
the ,author that a comprehensive and    
systematic investigation with  improved 
mechanical appliances1 and              
newly-discovered chemical               
manipulations1 would demonstrate many   
novel facts1 not only interesting to    
the casual observer1 but of indisputable
 value to the ,artist and to the        
,scientist4 ,this investigation and the 
subsequent publication in the  elaborate
 manner determined upon1 assumed such   
imposing proportions1 and  necessarily  
demanded so large an expenditure1 that  
all publishers1 not  unnaturally1 shrank
 from entering the unexplored field4    

,in this emergency1 through the         
influence of its ,provost1 ,dr4 ,william
  ,pepper1 the ,university of           
,pennsylvania with an enlightened       
exercise of its  functions as a         
contributor to human knowledge1         
instructed the ,author to  make1 under  
its auspices1 a comprehensive           
investigation of ,animal  ,locomotion in
 the broadest significance of the words1
 7see appendix ,b7 and  some of the     
,trustees and friends of the ,university
 constituted themselves a  committee for
 the purpose of promoting the execution 
of the work4 ,these  gentlemen were ,dr4
 ,william ,pepper1 ,chas4 ,c4 ,harrison1
 ,j4 ,b4 ,lippincott1  ,edw4 ,h4        
,coates1 ,samuel ,dickson and ,thomas   
,hockley4    ,the ,author acknowledges  
his obligations to these gentlemen for  
the interest  they took in his labors2  
for without their generous assistance   
the work  would probably never have been
 completed2 the total amount            
expended--nearly  forty thousand        

dollars--being entirely beyond his own  
resources4 ,to ,drs4 ,f4  ,x4 ,dercum1  
,geo4 ,f4 ,barker and ,horace ,jayne1 of
 the ,university1 the ,author  is also  
indebted for much valuable assistance4  
,illustration3 ,diagram of the ,studio  
at ,the ,university of ,pennsylvania1   
and  ,arrangement of the ,apparatus for 
,investigating ,animal ,locomotion4     
,,studio1 ,,apparatus1 ,,and ,,method   
,,of ,,working4    ,for a proper        
appreciation of the care taken in the   
,investigation of ,animal  ,locomotion  
at the ,university of ,pennsylvania to  
ensure accurate record of  the          
consecutive phases of the various       
movements1 attention to the system      
adopted is necessary4    ,in the        
diagram1 ,b is the ,lateral background2 
consisting of a shed #cg  metres or     
about #abj feet1 long1 the front of     
which is open1 and divided by  vertical 
and horizontal threads into spaces #e   
centimetres1 or about #b  inches1       
square1 and by broader threads into     

larger spaces #ej centimetres1  or about
 #ai inches1 square4    ,at ,c and ,c1  
#cg metres1 or about #abj feet1 apart   
are fixed backgrounds1  with vertical   
threads #e centimetres1 or about two    
inches1 from their  centres1 with       
broader threads #cj centimetres1 or     
about #ab inches1 from  their centres4  
,for some investigations1 readily       
distinguishable in the plates1  portable
 backgrounds are used1 consisting of    
frames #c metres wide by #d  metres     
high1--about #aj feet by #ac feet #d    
inches1--over some of which black  cloth
 and over others white cloth is         
stretched1 all being divided by         
vertical and horizontal lines into      
square spaces of the same description as
  those of the lateral background4      
,these portable backgrounds are used    
when photographing birds and horses1    
and also wild animals when possible to  
do so4    ,l4 ,a lateral battery of #bd 
automatic electro-photographic cameras1 
arranged  parallel with the line of     

progressive motion1 and usually placed  
therefrom  about #ae metres or #di feet4
    ,slow movements are usually         
photographed with lenses of #c inches   
diameter  and #ae inches equivalent     
focus2 the centres of the lenses being  
#ae  centimetres1 or about #f inches1   
apart4    ,rapid movements are usually  
photographed with a portable battery of 
cameras and smaller lenses4    ,the     
centre1 between lenses #f and #g1 is    
opposite the centre of the track ,t4    
,for illustrations comprising both      
,laterals and ,foreshortenings1 cameras 
#a to #ab only are used4    ,when       
,laterals alone are required1 cameras   
#ac to #bd are connected with the       
system and used in their regular        
sequence4    ,r4 ,a portable battery of 
#ab automatic electro-photographic      
cameras1 the  lenses of which are #a    
inches diameter and #e inches equivalent
 focus2 the  lenses are arranged #g     
centimetres1 or about #c inches1 from   
their centres4  ,when the battery is    

used vertically1 lens #f is usually on  
the same  horizontal plane as the lenses
 of the lateral battery4    ,in the     
diagram this battery is arranged        
vertically for a series of ,rear        
,foreshortenings1 the points of view    
being at an angle of #ij degrees from   
the lateral battery4    ,f4 ,a battery  
of #ab automatic electro-photographic   
cameras1 similar to that  placed at ,r1 
arranged horizontally for ,front        
,foreshortenings1 the points  of view   
averaging an angle of #fj degrees from  
the lateral battery4    ,o4 ,the        
position of the operator2 the electric  
batteries2 the chronograph  for         
recording the intervals of time between 
each successive exposure2 the  motor for
 completing the successive electric     
circuits1 and other apparatus  connected
 with the investigation4    ,t ,t4 ,the 
track parallel with the lateral battery 
and covered with  corrugated rubber     
flooring4    ,m4 ,the model1 approaching
 the point number #a on the track where 

the  series of photographic             
illustrations will commence4    ,an     
estimate having been made of the        
interval of time which will be          
required1 between each photographic     
exposure1 to illustrate the complete    
movement1 or that portion of the        
complete movement desired1 the apparatus
  is adjusted to complete a succession  
of electric circuits at each required   
interval of time1 and the motor is set  
in operation4 ,when the series is to    
illustrate progressive motion2 upon the 
arrival of the model at the point       
marked #a on the track1 the operator1 by
 pressing a button1 completes an        
electric circuit1 which immediately     
throws into gearing a portion of the    
apparatus hitherto at rest4 ,by means of
 suitably arranged connections1 an      
electric current is transmitted to each 
of the #c cameras marked #a in the      
various batteries1 and an exposure is   
simultaneously made on each of the      
photographic plates1 respectively1      

contained therein4 ,at the end of the   
predetermined interval of time1 a       
similar current is transmitted to each  
of  the cameras marked #b1 and another  
exposure made on each of the #c next    
plates1 and so forth until each series  
of exposures in each of the three       
batteries is completed4 ,assuming the   
operator to have exercised good         
judgment in regulating the speed of the 
apparatus1 and in making the first      
electric contact at the proper time1 and
 that the figures #a to #ab represent   
the distance traversed by the model in  
executing the movement desired1 the     
first three photographic exposures--that
 is1 one exposure in each  battery--will
 have been synchronously made when the  
model was passing the  position marked  
#a on the track ,t2 the second three    
exposures will have  been made when the 
model was passing the position marked   
#b1 and so on  until twelve successive  
exposures were simultaneously made in   
each of the  three batteries4 ,this     

perfect uniformity of time1 speed1 and  
distance1  however1 was not always      
obtained4    ,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 investigation2 it  
has1 however1 been considered that a few
  illustrations and brief description of
 the apparatus devised and used by  him 
may not be without interest to other    
students4    ,for the use of these      
illustrations he is indebted to the     
courtesy of ,rev4  ,jesse ,y4 ,burk1 the
 ,secretary of the ,university1 and to  
,j4 ,b4 ,lippincott  ,company1 the      
publishers of ,the ,muybridge ,work at  
the ,university of  ,pennsylvania1 a    
book which contains1 among other essays 
upon the subject1  ,materials for a     
,memoir on ,animal ,locomotion1 by      
,harrison ,allen1 ,m4 ,d41  and ,a      
,study of ,some ,normal and ,abnormal   
,movements1 by ,francis ,x4 ,dercum1    
,m4,d41 ,ph4,d4    ,figure #a is a view 

of the building containing the lateral  
battery of  twenty-four photographic    
cameras1 all of which were used when as 
many  consecutive phases of an act of   
motion were required4    ,illustration3 
,fig4 #a4    ,immediately in front of   
each of these cameras1 and detached     
therefrom1 was  placed an               
electro-photographic exposor1 a side    
section of which is  represented by     
,figure #b1 in which ,a is a continuous 
band of thin rubber  cloth impervious to
 light2 the edges of which are bound    
with strong tape1  and arranged to run  
in a groove1 and over two rollers ,,rr  
which are attached  to a frame4    ,in  
this endless band are two apertures ,,oo
 of suitable size1 and so arranged  that
 their full openings as they pass each  
other shall simultaneously take  place  
in front of the center of the lens ,l4  
,the upper and lower edges of these     
apertures are kept taut by light steel  
rods attached to the tape binding4      
,to the lower rod of the front aperture 

is fastened a ring ,c and a cleat1 to   
which some elastic rubber bands ,b are  
attached2 these bands are easily        
removable and their number increased at 
discretion2 in some instances of  rapid 
exposures a tension of twenty-five      
pounds or more was required4 ,on a      
shelf of the frame is a magnet ,m1 over 
the top of which is arranged a steel    
lever ,g pivoted near the end ,d which  
terminates with a slightly indented     
projection4    ,illustration3 ,fig4 #b4 
,the armature of the magnet is pivoted  
at ,h2 its upper arm terminates with a  
shoulder ,i4 ,s is a spring to prevent  
the accidental shifting of the  shoulder
 from its contact with the lever when   
the exposor is ready for its  function4 
,n is a set screw to adjust the distance
 of the armature from the  magnet4 ,to  
prepare for a series of photographic    
exposures--the plates  having been      
already placed in the cameras--the end  
of the lever ,g is placed  under the    
shoulder ,i2 the endless curtain is     

revolved until the front  aperture ,o is
 raised to its proper position1 when the
 ring ,c is hooked upon  the projecting 
point ,d4 ,a cord attached to the rubber
 bands ,b is drawn  around the pulley   
,p1 and a ring at its end is slipped    
over a pin1 which  keeps the spring at a
 proper state of tension4 ,upon the     
completion of an  electric circuit the  
armature is drawn towards the magnet2   
the end of the  lever is released from  
its contact with the shoulder2 the ring 
,c is  released from the projecting     
point ,d2 the front of the endless      
curtain is  drawn rapidly downward2 the 
apertures meet in the center of the     
lens1 form  a gradually expanding and   
then contracting diaphragm1 and the     
exposure is  made4 ,a front view of     
three electro-photographic exposors is  
seen in ,figure  #c4 ,the first of these
 represents the exposor set and ready   
for an exposure2  the second shows the  
meeting of the apertures at the         
commencement of an  exposure2 the third1

 their position near the completion of  
the exposure1  they having in the       
meanwhile uncovered the lens to their   
full capacity4    ,illustration3 ,fig4  
#c4    ,figure #d illustrates a portable
 battery of twelve electro-photographic 
exposors2 it consists of a rectangular  
box divided into compartments1 open  at 
the front and rear4    ,illustration3   
,fig4 #d4    ,in twelve of these        
compartments are arranged rollers1      
curtains1 magnets1  etc41 as previously 
described1 and a compartment through    
which a focusing  lens is used4 ,the two
 end compartments provide for the       
adjustment of the  camera1 which is     
supported in the box to the rear of the 
exposing  arrangements4 ,a cable of     
insulated wires for connecting the      
twelve magnets  with the exposing motor1
 contains a wire for the return current4
 ,as seen in  the engraving1 seven of   
the magnets by the passage of their     
respective  currents have completed     
their releasing operations4 ,in the     

eighth  compartment the two apertures in
 the exposing band are in the act of    
effecting an exposure4 ,the remaining   
four magnets are awaiting their turn    
for action4    ,figure #e is a          
photographic camera divided into        
thirteen compartments1 each  having a   
lens of the same construction1 and the  
same focal length2 these  are arranged  
to correspond with the compartments in  
the electro-exposors4    ,one of the    
lenses is provided with a focusing      
screen1 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    
camera4    ,the plate holder is         
constructed to hold three dry plates1   
each three inches  by twelve inches2 the
 front is divided into twelve           
compartments1 each three  inches square4
    ,illustration3 ,fig4 #e4    ,light  
is excluded from the front by a roller  
blind1 strengthened by thin  narrow     
slats of hard wood2 the blind works in  

grooves1 is drawn over a  concealed     
roller1 and covers the back of the      
holder when the plates are  being       
exposed4    ,figure #f is a rear and    
side view of the circuit maker1         
conventionally  called the exposing     
motor4    ,the motive power is an       
adjustable weight attached to a cord    
which is wound  around a drum4          
,twenty-four binding posts are attached 
to the table at the  back of the        
exposing motor2 other binding posts are 
arranged for return or  other currents4 
,figure #g illustrates a front and side 
view of the upper part of the  exposing 
motor4 ,fastened to the frame is a ring 
of hard rubber1 in which  are inserted  
twenty-four insulated segments of       
platinum-coated brass2 these  segments  
are connected by insulated wires to the 
twenty-four binding posts  on the back  
of the motor table1 figure #f4          
,illustration3 ,fig4 #f4    ,a shaft1   
connected by an arrangement of geared   
wheels to the drum1 passes  through the 

center of the segmented ring and carries
 a loose collar2 a  stout metal rod is  
firmly attached near its longitudinal   
center to this  loose collar4 ,one arm  
of the rod carries a laminated metal    
scraper1 or  contact brush1 arranged to 
travel around the periphery of the ring1
 and in  its revolution to make contact 
with each segment in succession4 ,the   
contact  brush is connected through the 
arm with one pole of the battery2 and   
each  segment--through its independent  
wire and magnet of the                  
electro-exposors--with the other pole4  
,illustration3 ,fig4 #g4                
,illustration3 ,fig4 #g4    ,when       
twenty-four consecutive phases of an act
 of motion are to be  photographed from 
one point of view1 all of the insulated 
segments in the  ring are put in        
circuit4 ,when twelve consecutive phases
 are to be  photographed synchronously  
from each of three points of view1 each 
alternate segment is placed in circuit  
with the electric battery4    ,the      

manner in which the series of           
synchronous exposures is effected will  
be  readily understood by reference to  
the diagram1 #h4    ,illustration3 ,fig4
 #h4    ,all being in readiness1 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 speed1 the drum1 and with it   
the shaft is set in motion4    ,at the  
proper time1 pressure on a button       
completes an independent circuit        
through the magnet seen below the       
segmented ring1 figure #g1 and in the   
side  diagram of figure #h4    ,the     
action of the armature releases the     
lower end of the rod on the loose       
collar1 which1 by means of a coiled     
spring1 is immediately thrown into      
gearing with the already revolving      
shaft2 the contact brush sweeps around  
the segmented ring and effects the      
consecutive series of exposures at the  
pre-arranged intervals of time4    ,at  
the ,university the intervals varied    

from the one-sixtieth part of a  second 
to several seconds4    ,a record of     
these time intervals was kept by a      
chronograph1 a well known  instrument2  
it comprises a revolving drum carrying a
 cylinder of  smoke-blackened paper1 on 
which1 by means of successive electric  
contacts1  a pencil is caused to record 
the vibrations of a tuning fork1 while a
  second pencil marks the commencement  
of each photographic exposure4 ,the     
number of vibrations occurring between  
any two successive exposures marks  the 
time4 ,the tuning fork used made one    
hundred single vibrations in a  second  
of time4 ,to ensure greater minuteness  
and accuracy in the record1  the        
vibrations were divided into tenths1 and
 the intervals calculated in            
thousandths of a second4    ,for the    
purpose of determining the synchronous  
action of the  electro-exposors while   
making a double series of exposures1 the
 accuracy of  the time intervals as     
recorded by the chronograph1 and the    

duration of the  shortest photographic  
exposures used in the investigation1 the
 two  batteries of portable cameras were
 placed side by side1 and the exposors  
were each connected with the exposing   
motor by separate lengths of a  hundred 
feet of cable4 ,the two series of       
cameras were pointed to a rapidly       
revolving disc of five feet diameter4   
,the surface of the disc was black1     
with narrow white lines radiating from  
the center to the edge like the  spokes 
of a wheel4 ,a microscopic examination  
of the two series of resulting          
negatives proved that no variation could
 be discovered in the synchronous       
action of ten of the duplicated series  
of exposures1 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 work4    ,illustration3    
,fig4 #i4    ,a reproduction of the     
chronographic record of one of these    

experiments is  seen in figure #i4      
,the first line records the revolution  
of the disc2 the second the vibration   
of the tuning fork2 and each group of   
three long double markings in the  third
 line indicates a photographic exposure4
    ,the shortest exposures made at the 
,university were--approximately--the one
  six-thousandth part of a second2 such 
brief exposures are however for this    
class of investigation very rarely      
needed4    ,some horses galloping at    
full speed will1 for a short distance1  
cover about  fifty-six or fifty-eight   
feet of ground in a second of time2 a   
full mile  averaging perhaps a hundred  
seconds4 ,at this speed1 a foot         
recovering its  loss of motion will be  
thrust forward with an occasional       
velocity of at  least #abj lineal feet  
in a second of time4    ,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    
inch1 and a moving  foot perhaps one and

 a half inches1 not a very serious      
matter for the usual  requirements of   
the amateur photographer4    ,a         
knowledge of the duration of the        
exposures1 however1 was in this         
investigation of no value1 and scarcely 
a matter of curiosity1 the aim  always  
being to give as long an exposure as the
 rapidity of the action  would permit1  
with a due regard to the necessary      
sharpness of outline1 and  essential    
distinctness of detail4    ,the power   
used for operating the magnets1 through 
the exposing motor1 was  given from a l 
,clanch battery of fifty-four cells1    
arranged in multiple  arc of three      
series1 each of eighteen cells4         
,during the investigation at the        
,university of ,pennsylvania1 more than 
a  hundred thousand photographic        
exposures were made4    ,the negative   
plates were supplied by the ,cramer ,dry
 ,plate ,company of ,st4  ,louis1 and   
the positive plates by the ,carbutt     
,company of ,philadelphia4 ,on a        

favorable day five hundred or six       
hundred negatives were sometimes        
exposed2  on one day the number of      
exposures reached seven hundred and     
fifty4    ,the electrical manipulations 
were directed by ,lino ,f4 ,rondinella2 
the  development room was in charge of  
,henry ,bell4 ,the author takes pleasure
 in  acknowledging the skill1 patience  
and energy which these gentlemen        
exhibited in their respective fields of 
labor4    ,although the one             
six-thousandth part of a second was the 
duration of the  most rapid exposure    
made in this investigation1 it is by no 
means the limit  of mechanically        
effected photographic exposures1 nor    
does the one-sixtieth  part of a second 
approach the limit of time intervals4   
,marey1 in his  remarkable physiological
 investigations1 has recently made      
successive  exposures with far less     
intervals of time2 and the author has   
devised1 and  when a relaxation of the  
demands upon his time permit1 will use  

an  apparatus which will photograph     
twenty consecutive phases of a single   
vibration of the wing of an insect2 even
 assuming as correct a quotation  from  
,nicholson's ,journal by ,pettigrew in  
his work on ,animal ,locomotion  that a 
common house fly will make during flight
 seven hundred and fifty  vibrations of 
its wings in a second of time1 a number 
probably far in  excess of the reality4 
,the ingenious gentlemen who are        
persistently endeavoring to overcome the
  obstacles in the construction of an   
apparatus for aerial navigation1 will   
perhaps some day be awakened by the fact
 that the only successful method of     
propulsion will be found in the action  
of the wing of an insect4    ,we will   
now resume the subject proper of this   
monograph4    ,it is impossible within  
its limits to trace the history of the  
art of  delineating animals in motion1  
or to illustrate it with examples of the
  truthful impressions of the primitive 
,artists1 or of the imaginative and     

erroneous conceptions of many of those  
of modern times4 ,certain phases of  the
 facts of ,animal ,locomotion will alone
 be treated upon1 as demonstrated  by   
photographic research4    ,the          
illustrations and condensed definitions 
of the various gaits were  prepared by  
the ,author for the ,standard           
,dictionary4 ,before studying these  it 
is essential that the meaning of the    
terms step and stride should be         
distinctly understood4    ,a ,,step is  
an act of progressive animal motion1 in 
which one of the  supporting members of 
the body is thrust in the direction of  
the motion and  the support transferred1
 wholly1 or in part1 from one member to 
another4    ,a ,,stride is an act of    
progressive animal motion1 which1 for   
its completion1  requires all of the    
supporting members of the body1 in the  
exercise of  their proper functions1 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 notation4 ,in   
the bipedal walk or run a step is       
one-half of a stride or full round      
movement4 ,with all quadrupeds1 except  
the kangaroo and other jumpers1  four   
steps are necessary to complete the     
stride4    ,,the ,,walk4    ,the ,,walk 
is a method of progressive motion with a
 regular individual  succession of limb 
movements4 ,in the evolution of the     
terrestrial  vertebrates the walk was   
probably the first adopted method of    
locomotion1  and its execution is       
regulated by the law that the movement  
of the  superior limb precedes the      
movement of its lateral inferior limb4  
,this  is proved not merely by the      
ordinary quadrupedal walk1 but by the   
suspended motion of the sloth2 the      
crawling of the child upon the ground1  
the erect walk of man2 and the inverse  
limb movements of the ape tribe4    ,the
 relative time intervals of the         
foot-fallings vary greatly with many    

species of animals1 and even with the   
same animal under different  conditions4
    ,selecting the horse for the purpose
 of illustration we find that during the
  walk--his slowest progressive         
movement--he has always two1 and for a  
varying period of time1 or distance1    
three feet on the ground at once1  while
 during a very slow walk the support    
will devolve alternately upon  three    
feet and upon four feet4                
,illustration3 ,,some ,,consecutive     
,,phases ,,of ,,the ,,walk4    ,if the  
notation of the foot-fallings commences 
with the landing of the  right hind     
foot1 the order in which the other feet 
are placed upon the  ground will be3 the
 right fore1 the left hind1 and the left
 fore1  commencing again with the right 
hind4    ,assuming that our observation 
of the stride of a horse during an      
ordinary  walk commences with the       
landing of the right hind foot1 the body
 will then  be supported by both hind   
and the left fore feet4 ,the left hind  

is now  lifted1 the support of the body 
devolves upon the diagonals--the right  
hind  and left fore--and continues so   
supported until the left hind is in the 
act  of passing to the front of the     
right2 when the right fore is next      
placed on  the ground4 ,the left fore is
 now raised1 and the body is supported  
by the  right laterals1 until the       
landing of the left hind foot relieves  
its fellow  hind of a portion of its    
weight4 ,two steps or one-half of a     
stride have now  been made1 and with the
 substitution of the right feet for the 
left1 two  other steps will be executed 
in practically the same manner1 and a   
full  stride will have been completed4  
,we thus see that during the walk a     
quadruped is supported by eight         
different methods1 the supporting limbs 
being consecutively3    ,both hind and  
left fore4    ,right hind and left fore 
diagonals4    ,right hind and both fore4
    ,right hind and right fore laterals4
    ,both hind and right fore4    ,left 

hind and right fore diagonals4    ,left 
hind and both fore4    ,left hind and   
left fore laterals4    ,followed as at  
the commencement with both hind and left
 fore4    ,when1 therefore1 during a    
walk1 a horse is supported on two legs1 
with two  feet suspended between them1  
each pair are laterals4 ,on the other   
hand1  when the suspended feet are      
respectively in advance of1 and behind  
the  supporting legs1 each pair are     
diagonals4    ,these invariable rules   
have been unknown or ignored by many    
distinguished  artists of modern times4 
,,the ,,amble4    ,the amble is a method
 of progressive motion with the same    
sequence of foot  fallings as the walk1 
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 thereon4 ,the       
support of the body therefore devolves  
alternately upon a single foot and upon 
two feet2 the single foot being         
alternately a hind foot and a fore foot1

 and the two feet being alternately     
laterals and diagonals4 ,at no time is  
the body entirely unsupported4    ,the  
following series of illustrations will  
clearly demonstrate the  consecutive    
foot fallings and some characteristic   
phases of an ambling  stride3           
,illustration3 ,,some ,,consecutive     
,,phases ,,of ,,the ,,amble4    ,the    
amble has various local names1 such as  
the single foot1 the fox  trot1 etc4 ,it
 has sometimes been erroneously confused
 with the rack or the  so-called pace2  
it is the most gentle and agreeable to  
the rider of all  methods of locomotion 
of the horse1 while the rack is the most
 ungraceful  and disagreeable4    ,in   
,scott's romances are many allusions to 
the ambling palfry4 ,ben ,jonson  in    
,every ,man in ,his ,humor speaks of    
going out of the old hackney-pace to  a 
fine1 easy amble1 and ,dickens in       
,barnaby ,rudge refers to the gray  mare
 breaking from her sober amble into a   
gentle trot4    ,the ambling gait is    

natural to the elephant1 and to the     
horse1 the mule and  the ass2 but in    
many countries these latter animals are 
not encouraged in  its use4    ,,the    
,,trot4    ,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 ground1  
and in which the body of the animal is  
entirely unsupported twice during each  
stride4    ,selecting for the purpose of
 illustration the phases occurring      
during two  steps or one-half of a      
stride of #ah feet in length by a horse 
trotting at  the rate of a mile in two  
minutes and twelve seconds1 we find that
 at the  instant his right fore foot    
strikes the ground1 the left hind foot  
is a few  inches behind the point where 
it will presently strike4 ,as the feet  
approach the ground1 the right hind leg 
is drawn forward with the pastern       
nearly horizontal1 while the left fore  
leg is flexed under the body4 ,after    

the feet strike the ground and the legs 
approach a vertical position the        
pasterns are gradually lowered1 and act 
as springs to break the force of  the   
concussion until they are sometimes bent
 to a right angle with the  legs4    ,at
 this period the fore foot is raised so 
high as to frequently strike the  elbow1
 while the diagonal hind foot is        
comparatively but little above the      
ground1 and is about to pass to the     
front of the left hind4    ,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 foot2 which accomplished1 the      
animal is in mid  air4    ,the right    
hind foot continues its onward motion   
until it is sometimes much  in advance  
of its lateral fore foot1 the former1   
however1 being gradually  lowered1 while
 the latter is being raised4 ,the right 
hind and both fore  legs are now much   
flexed1 while the left hind is stretched

 backwards to its  greatest extent with 
the bottom of the foot turned upwards1  
the left fore  leg is being thrust      
forwards and gradually straightened1    
with the toe  raised as the foot        
approaches the ground2 which            
accomplished1 with a  substitution of   
the left limbs for the right1 we find   
them in the same  relative positions as 
when we commenced our examination1 and  
one-half of  the stride is completed4   
,illustration3 ,,some ,,consecutive     
,,phases ,,of ,,the ,,trot4    ,with    
slight and immaterial differences1 such 
as might be caused by  irregularities of
 the ground1 these movements are        
repeated by the other  pair of          
diagonals1 and the stride is then       
complete4    ,if the stride of a        
trotting horse is divided into two      
portions1  representing the comparative 
distances traversed by the aggregate of 
the  body while the feet are in contact 
with1 and while they are entirely clear 
of1 the ground1 the relative            

measurements will be found to vary very 
greatly1 they being contingent upon     
length of limb1 weight1 speed1 and      
other circumstances4    ,heavily built  
horses will sometimes merely drag the   
feet just above the  surface1 but1 in   
every instance of a trot1 the weight of 
the body is  really unsupported twice   
during each stride4 ,it sometimes       
happens that a  fast trotter1 during the
 four steps of a stride1 will have all  
his feet  clear of the ground for a     
distance exceeding one-half of the      
length of the  entire stride4 ,upon     
landing1 a fore foot almost always      
precedes its  diagonal hind4    ,it will
 be observed in the illustrations that  
while during the fast trot  the fore    
feet are lifted so high that they       
frequently strike the breast1  the hind 
feet are raised but little above the    
surface of the ground4 ,the  trot is    
common to all the single-toed and to    
nearly all the cloven-footed  and       
soft-footed animals4 ,it has1 however1  

not been recorded as being  adopted by  
the elephant1 the camel1 or the giraffe4
    ,,the ,,rack4    ,the rack1         
sometimes miscalled the pace1 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 laterals1  the body of the    
animal being in the intervals entirely  
without support4 ,the  distance which   
the propelling feet hurl the animal     
through the air depends1  as with other 
movements1 upon a variety of            
circumstances2 at a high rate of  speed 
the distance will be about one-half the 
total length of the stride4  ,upon      
landing1 a hind foot usually precedes   
its lateral fore4    ,illustration3     
,,some ,,consecutive ,,phases ,,of ,,the
 ,,rack4    ,the rack is an ungraceful  
gait of the horse1 and disagreeable to  
those who  seek comfort in riding4      
,the movements hitherto described are   
regular in their action1 and a stride   

may be divided into two parts1 each of  
which--with a change of limbs--is       
practically similar to the other2 we now
 come to methods of progression  which  
cannot be so divided1 and each stride   
must be considered as a unit of  motion4
    ,,the ,,canter4    ,in the canter we
 discover the same sequence of foot     
fallings as in the  walk1 but not with  
the same harmonious intervals of time4  
,the gait  resembles the gallop in      
respect to its leaving the horse        
entirely  unsupported for a varying     
period of time1 and in the fact that the
 spring  into the air is always effected
 from a fore foot1 and the landing upon 
the  diagonal hind foot2 in other       
respects it materially differs from that
  method of progression4    ,assuming   
that during a stride of the canter a    
horse springs into the air  from a left 
fore foot1 the right hind foot will     
first reach the ground2 the  two fore   
legs will at this time be flexed under  
the body1 the right being  the first    

landed1 and for a brief period of time  
the support will devolve  upon the      
laterals4 ,the right fore foot is       
rapidly followed by the left  hind4     
,during a very slow canter the other    
fore foot will sometimes be  landed in  
advance of the lifting of its diagonal1 
and the curious phase  presented of all 
of the feet being in contact with the   
ground at the same  instant4 ,usually1  
however1 the first hind foot to touch   
the ground will be  lifted1 and the     
support thrown upon the diagonals4      
,the left fore is now brought down1 and 
is followed by the lifting of the  right
 fore2 when the left laterals assume the
 duty of support4 ,the left  hind is now
 raised1 and with a final thrust of the 
left fore foot the  animal is projected 
into the air1 to land again upon its    
diagonal1 and  repeat the same sequence 
of movements4    ,the above phases are  
selected from a single complete stride1 
in which the  landing occurs on the     
right hind foot4 ,had the horse sprung  

from a  right fore foot1 the right and  
left feet would have been reversed      
through  the entire series4             
,illustration3 ,,some ,,consecutive     
,,phases ,,of ,,the ,,canter4    ,,the  
,,gallop4    ,the gallop is the most    
rapid method of quadrupedal motion2 in  
its action  the feet are independently  
brought to the ground2 the spring into  
the air  as in the canter is effected   
from a fore foot1 and the landing upon  
the  diagonal hind foot4    ,the phases 
illustrated are selected from the stride
 of a thorough-bred  ,kentucky horse1   
galloping at the rate of a mile in a    
hundred seconds1 with  a stride of about
 twenty-one lineal feet4    ,the length 
of stride and the distance which the    
body is carried forward  without support
 depend upon many circumstances1 such as
 the breed1 build  and condition of the 
horse1 speed1 track1 etc4    ,the phases
 illustrated and the measurement given  
apply to one stride of one  horse1 but  
may be considered as fairly representing

 the stride of a  first-class horse in  
prime racing condition at the height of 
his speed1  upon a good track4          
,assuming--as in this instance--the     
springing into the air to have been     
effected from the right fore foot1 the  
landing will take place in advance  of  
the centre of gravity1 upon the         
diagonal1 or left hind foot2 above1 will
  be suspended the right hind foot1 and 
at a higher elevation1 several inches   
to the rear1 will be the right fore     
foot1 with the sole turned upward4 ,the 
left fore leg will be in advance of the 
right1 and also flexed4 ,the force  of  
the impact and the weight of the horse  
causes the pastern to form a  right     
angle with the leg1 and the heel is     
impressed into the ground4              
,illustration3 ,,some ,,consecutive     
,,phases ,,of ,,the ,,gallop4    ,the   
right hind foot strikes the ground and  
shares the weight of the body4  ,the    
left hind foot leaves the ground while  
the right hind pastern is in its        

horizontal phase1 supporting all the    
weight4 ,at this period the left fore   
leg is perfectly straight1 with the toe 
much higher than the heel1 and is       
thrust forward until the pastern joint  
is vertical with the nose1 the right    
fore knee is bent at a right angle4 ,the
 left fore foot now strikes and  these  
diagonals are for a brief period upon   
the ground together4 ,the left  fore    
leg1 however1 immediately assumes the   
entire responsibility of support  and   
attains a vertical position1 with the   
pastern at a right angle4 ,the  right   
fore leg becomes perfectly rigid1 and is
 thrust forward to its  fullest extent4 
,the right fore foot now strikes the    
ground1 the two fore  legs form a right 
angle1 and the hind feet are found      
thrust backward1 the  right to its      
fullest extent4 ,the left fore leg      
having completed its  functions of      
support1 is now lifted1 and the weight  
transferred to the  right fore foot     
alone1 which is soon found behind the   

centre of gravity2  the left hind foot  
passes to the front of the right fore   
leg1 which1  exercising its final act of
 propulsion1 thrusts the horse through  
the air2  the left hind foot descends2  
the stride is completed1 and the        
consecutive  phases are renewed4 ,from  
this analysis we learn that if the      
spring is made  from the right fore foot
 during the rapid gallop of a           
thoroughbred horse1  it is supported    
consecutively by    ,the left hind foot4
    ,both hind feet4    ,the right hind 
foot4    ,the right hind and the left   
fore feet4    ,the left fore foot4      
,both fore feet4    ,the right fore     
foot4    ,from which he springs into the
 air to re-commence the phases with the 
left  hind foot1 while the only phase in
 which he has been discovered without   
support is one when the legs are flexed 
under the body4 ,all of the feet at     
this time are nearly close together and 
have comparatively little  independent  
motion2 this phase1 therefore1 more     

persistently than any  other1 forces    
itself upon the attention of the careful
 observer1 and  conveys to him the      
impression of a horse's rapid motion in 
singular  contradiction to the          
conventional interpretation1 until quite
 recently1  usually adopted by the      
,artist4    ,it should not be understood
 that the term spring implies that the  
body of  the horse is greatly elevated  
by that action2 were it so1 much force  
would  be unnecessarily expended with   
the result of loss of speed4 ,the center
 of  gravity of a horse trotting or     
galloping at a high rate of speed will  
preserve an almost strictly horizontal  
line1 the undulations being very        
slight4    ,in the gallop of the horse  
it is probable there may be sometimes a 
period  of suspension between the       
lifting of one fore foot and the descent
 of the  other1 but it has not yet been 
demonstrated4    ,the method of         
galloping described applies to the horse
 and its allies1 and  to most of the    

cloven and soft-footed animals4    ,in  
the gallop of the dog the sequence of   
foot falling and the action of the  body
 is materially different1 and the animal
 is free from support twice in  each    
stride4    ,illustration3 ,,the ,,gallop
 ,,of ,,the ,,dog4    ,assuming that a  
racing hound after a flight through the 
air with elongated  body and extended   
legs 7like the conventional galloping   
horse71 lands upon  the left fore foot1 
the right fore will next touch the      
ground2 from this he  will again spring 
into the air1 and with curved body and  
flexed legs land  upon the right hind   
foot1 while the right fore feet will be 
half the length  of the body to the     
rear4 ,the left hind now descends1      
another flight is  effected1 and again  
the left fore repeats its functions of  
support and  propulsion4    ,these      
successive foot fallings are common to  
all dogs when galloping1 and  it is     
worthy of note that the same rotary     
action in the use of the limbs is       

adopted in the gallop of the elk1 the   
deer and the antelope1 all of which     
animals1 like the dog1 can for a time   
excel the horse in speed4    ,a search  
through all the dictionaries published  
at the time of writing1 and  accessible 
to the ,author1 fails to discover a     
correct definition of the  gallop4 ,this
 motion is in ,america frequently       
miscalled the run1 and its  execution   
running1 but no corresponding           
explanation of the word is given  by any
 lexicographer4    ,in ,scott's ,lady of
 the ,lake occurs ,then faint afar are  
heard the feet of  rushing steeds in    
gallop fleet1 many other distinguished  
,authors refer  to the same action by   
the same name1 by which1 or its         
equivalents1 it is  universally known in
 ,europe4    ,,the ,,leap4    ,there is 
little essential difference in general  
characteristics of either  of the       
several movements that have been        
described1 but with a number of         
experiments made with horses while      

leaping1 no two were found to agree in  
the manner of execution4 ,the leap of   
the same horse at the same rate of      
speed1 with the same rider1 over the    
same hurdle1 disclosed much variation   
in the rise1 clearance1 and descent of  
the animal4 ,a few phases were1         
however1 invariable4 ,while the horse   
was raising his body to clear the       
hurdle1 one hind foot was always in     
advance of the other1 which exercised   
its last energy alone4    ,on the       
descent1 the concussion was always first
 received by one fore foot1  followed   
more or less rapidly by the other1      
sometimes as much as #cj inches  in     
advance of where the first one struck2  
the hind feet were also landed  with    
intervals of time and distance4    ,no  
attempt will be made to analyze the     
consecutive phases of various other     
acts of ,animal ,locomotion1 such as    
rearing1 bucking1 kicking1 tossing1     
etc41 on account of the irregularity    
which characterizes their execution1    

and the difficulty of obtaining reliable
 data4    ,the ,author has vainly sought
 for the rules which govern the hind    
feet of a  playfully disposed mule2 but 
the inquiry has usually been            
unsatisfactory1  and upon some occasions
 disastrous4 ,should these movements be 
controlled by  any general law1 it is of
 such a complex nature that all attempts
 to  expound it have hitherto been      
fruitless4    ,the figures in the series
 of circles 7see appendix ,a7 were      
selected from        ,,animal           
,,locomotion    and arranged by the     
,author for his less ambitious work1    
,,popular ,,zoopraxography4    7,see    
,appendix ,c74    ,they were traced by  
the well known artist1 ,erwin ,faber1   
and are reproduced  one-third the       
diameter of the circles arranged for the
 zopraxiscope4 ,many  of the original   
phases of movement are omitted on       
account of the optical  law which in the
 construction of a zopraxiscope requires
 that the number  of illustrations must 

bear a certain relationship to the      
number of  perforations through which   
they are viewed4    ,the popular number 
of thirteen having been selected for the
 latter1 the  same number of figures    
illustrate actions without lateral      
progressive  motion4    ,when the number
 of illustrated phases is less than the 
number of  perforations1 the succession 
of phases is in the direction of the    
motion1  and the disc is necessarily    
revolved in a reverse direction4        
,when the number of phases is greater   
than the number of perforations1 the    
phases succeed each other in a direction
 contrary to that of the motion1  and   
the disc is revolved in the direction of
 the motion4    ,an increased or        
diminished number of figures will       
respectively result in an  increased or 
diminished apparent speed of the object4
    ,for further information on the     
subject1 the reader is referred to the  
,,zoopraxiscope4           99       99  
99       99       99      ,,appendix ,a4

    ,,syllabus ,,of ,a ,,course ,,of    
,,two ,,lectures    ,,on                
,,zoopraxography    ,,or    ,,the       
,,science ,,of ,,animal ,,locomotion    
,,in ,,its ,,relation  ,,to ,,design    
,,in ,,art4    ,origin of the ,author's 
,investigations--,diagram of the ,studio
 at the  ,university of ,pennsylvania   
where the ,investigation was            
conducted--,batteries  of ,cameras1     
,electro-exposers1 ,contact-motor1      
,chronograph1 and other  apparatus used 
for photographing consecutive phases of 
animal  movements--,method of obtaining 
successive exposures of moving objects  
synchronously from several different    
points of view--,normal ,locomotion of  
,animals--,twelve consecutive phases of 
a single step of the ,horse while       
walking2 also of the ,ox1 ,elk1 ,goat1  
,buffalo1 and other cloven-footed       
animals2 the ,lion1 ,elephant1 ,camel1  
,dog1 and other soft-footed animals2 of 
the ,sloth while suspended by its claws1
 and of the ,child while crawling on    

the ground2 of man walking erect--,the  
,normal ,method of ,locomotion by all   
animals essentially the same--,the      
,quadrupedal ,walk as interpreted by    
,prehistoric ,man1 by the ,egyptians1   
,assyrians1 ,phoenicians1 ,etruscans1   
,greeks1 ,romans1 ,byzantines1 and by   
eminent artists of medival and of       
modern times--,the ,statue of ,marcus   
,aurelius the great source of modern    
errors2 ,marcus ,aurelius in ,london1   
,edinburgh1 ,glasgow1 ,dublin1 ,paris1  
,berlin1 ,amsterdam1 ,new ,york1        
,boston1 and many other cities--,albert 
,durer1  ,verrocchio1 ,meissonier1 ,paul
 ,delaroche1 ,landseer1 ,rosa ,bonheur1 
,elizabeth  ,thompson ,butler1          
c4--,other ,quadrupedal movements1 the  
,amble1 ,rack1 ,trot  and               
,canter--,twelve phases in the ,gallop  
of a ,horse--,origin of the modern      
representation of the ,gallop--,gallop  
as depicted by the ,hittites1 ,north    
,american ,indians1 ,egyptians1         
,assyrians1 ,greeks1 the medival        

artists--,the  modern conventional      
gallop2 evidences of its absurdity2     
acknowledgment by  the ,artist of the   
necessity of reformation--,leap of the  
,horse1 ,kick of the  ,mule1 c41 all    
illustrated by photographs the size of  
life1 from nature1  and comparisons made
 with the interpretation of the same    
movements by  artists of pre-historic1  
ancient1 medival and modern             
times--,demonstration  of the action of 
the primary feathers in the wing of a   
,bird while ,flying1  and a solution of 
the complex problem of ,soaring4        
,,after ,,the ,,various ,,methods ,,of  
,,locomotion ,,have ,,been              
,,demonstrated ,,by ,,analysis1  ,,they 
,,will ,,be ,,represented               
,,synthetically ,,by ,,the              
,,zoopraxiscope4    ,among the many     
,institutions where ,mr4 ,muybridge has 
had the honor of  ,lecturing on         
,,zoopraxography    are the following3--
    ,royal ,academy of ,arts1 ,london4  
,royal ,society of ,london4  ,royal     

,college of ,surgeons1 ,london4  ,royal 
,institution of ,great ,britain4  ,royal
 ,dublin ,society4  ,royal ,geographical
 ,society4  ,royal ,institution1 ,hull4 
,british ,association for the           
,advancement of ,science4  ,linnean     
,society1 ,zoological ,society4  ,art   
and ,science ,schools1 ,south           
,kensington ,museum4  ,london           
,institution1 ,glasgow ,philosophical   
,society4  ,newcastle ,literary and     
,philosophical ,society4  ,birmingham   
,natural ,history and ,microscopical    
,society4  ,town ,hall1 ,birmingham2    
,nottingham ,arts ,society4  ,manchester
 ,athenum4  ,university of ,oxford4     
,eton ,college1 ,clifton ,college4      
,wellington ,college1 ,yorkshire        
,college1  ,rugby ,school1              
,charterhouse4  ,leeds ,mechanics'      
,institute4  ,sheffield ,literary and   
,philosophical ,society4  ,belfast      
,natural ,history and ,philosophical    
,society4  ,warrington ,literary and    
,philosophical ,society4  ,yorkshire    

,philosophical ,society1 ,bristol       
,naturalists' ,society4  ,bath          
,associated ,scientific and ,art        
,societies4  ,ipswich ,scientific       
,society1 ,photographic ,society of     
,ireland4  ,liverpool ,associated       
,literary1 ,scientific and ,art         
,societies4  ,st4 ,george's ,hall1      
,liverpool4  ,school of ,military       
,engineering1 ,chatham4  ,the ,school of
 ,fine ,arts2 ,hall of the ,hemicycle1  
,paris4  ,the ,society of ,artists1     
,berlin4  ,the ,society of ,artists1    
,vienna4  ,the ,society of ,artists1    
,munich4  ,the ,urania ,scientific      
,society1 ,berlin4  ,the ,polytechnic   
,high ,school1 ,vienna4  ,the           
,polytechnic ,high ,school1 ,munich4    
,the ,university of ,turin4  ,the       
,cercle de ,l',union ,artistique1  ,the 
,studio of ,m4 ,meissonier in ,paris1   
,etc41 ,etc41 ,etc4    ,and at all the  
principal ,institutions of ,art1        
,science1 ,education and  ,learning in  
the ,united ,states of ,america4        

,illustration3 #a4 ,,athlete1           
,,horse-,,back ,,somersault4            
,,abbreviated ,,criticisms4    ,on      
,monday last1 in the theatre of the     
,,royal ,,institution1 a select and     
representative audience assembled to    
witness a series of the most            
interesting demonstrations of ,animal   
,locomotion given by ,mr4 ,muybridge4   
,the ,prince and ,princess of ,wales1   
,princess ,victoria1 ,louise1 and ,maud1
 and  the ,duke of ,edinburgh honored   
the occasion by their presence2 likewise
 did  ,i note among the brilliant       
company ,earl ,stanhope1 ,sir ,frederick
 ,leighton1  ,p4,r4,a42 ,professors     
,huxley1 ,gladstone1 and ,tyndall2 and  
last1 not least1  ,lord ,tennyson1 poet 
laureate4    ,illustration3 #b4         
,,athletes ,,boxing4    ,mr4 ,muybridge 
exhibited a large number of photographs 
of horses galloping1  leaping1 etc4444  
,by the aid of an astonishing apparatus 
called a  ,,zoopraxiscope1 which may be 
briefly described as a magic lantern run

 mad  7with method in the madness71 the 
animals walked1 cantered1 ambled1       
galloped1 and leaped over hurdles in a  
perfectly natural and lifelike  manner4 
,i am afraid that1 had ,muybridge       
exhibited his ,,zoopraxiscope three     
hundred years ago1 he would have been   
burned as a wizard4444 ,after the       
horses came dogs1 deer1 and wild bulls4 
,finally man appeared 7in  instantaneous
 photography7 on the scene1 and ran1    
leaped1 and turned back  somersaults to 
admiration4--,,george ,,augustus ,,sala 
in ,illustrated ,london  ,news4         
,illustration3 #c4 ,,athletes ,,running4
    ,both scientific and artistic       
circles in ,london are at present       
greatly  interested in the triumphs of  
,mr4 ,eadweard ,muybridge in            
photographing the  successive phases of 
animal movements4 ,our leading          
biologists and artists  have at once    
perceived and acknowledged the vast     
importance of the results  of his       
work4--,the ,times1 ,london4            

,illustration3 #e4 ,,athlete1 ,,running 
,,high ,,jump4    ,the ,archbishop of   
,york occupied the chair4444 ,his ,grace
 congratulated the  crowded and         
distinguished audience on the           
opportunity afforded them of  hearing   
,mr4 ,muybridge1 and said that to       
everybody who felt an interest in  the  
phenomena of motion1 the magnificent    
results of the investigation  carried on
 by ,mr4 ,muybridge and the ,university 
of ,pennsylvania were  wonderfully      
instructive4--,york ,herald4    ,his    
audiences have been drawn from the very 
first ranks of art1 science1  and       
fashion4--,british ,journal of          
,photography4    ,illustration3 #f4     
,,athlete1 ,,standing ,,long ,,jump4    
,these demonstrations are marvellously  
complete1 444 exceedingly abundant  and 
rich in suggestion and instruction1 and 
appeal to almost every class or         
condition of humanity4--,saturday       
,review1 ,london4    ,mr4 ,muybridge    
delighted his audience with his         

wonderful  photographs4--,the ,times1   
,london4    444 ,last night ,mr4        
,muybridge gave his final lecture in    
,newcastle on ',the  ,science of ,animal
 ,locomotion1' with the whole of the    
wonderful  illustrations2 the ,art      
,gallery being again crowded to         
excess4--,newcastle  ,chronicle4        
,illustration3 #aa4 ,,athletes4 ,,base  
,,ball2 ,,batting4    ,a photographic   
achievement which seemed to me at the   
time scarce credible1  and which ,i was 
presently assured by one of our ablest  
,english  photographers was absolutely  
outside the bounds of                   
possibility4--,,professor  ,r4 ,a4      
,,proctor in the ,gentleman's ,magazine4
    ,at the conversazione of the ,royal 
,society much interest was excited by   
,mr4  ,eadweard ,muybridge's lecture4   
,the ,,zoopraxiscope afforded the       
spectator an  opportunity of studying by
 synthesis1 the facts of motion which   
are also  demonstrated by               
analysis4--,illustrated ,london ,news4  

,illustration3 #ad4 ,,boys ,,playing    
,,leap-,,frog4    ,a really marvellous  
series of plates4--,nature1 ,london4    
,artistic people are all talking about  
,mr4 ,muybridge1 who has come hither    
with that rare desideratum--something   
new4--,london ,,correspondence1         
,philadelphia ,times4    ,it is         
impossible to do justice in this short  
time to the extraordinary  exhibition   
given by ,mr4 ,muybridge at the         
,institute of ,technology4444 ,the      
interest they excite in the mind of the 
spectator is  indescribable4--,sunday   
,gazette1 ,boston4    ,illustration3    
#af4 ,,children ,,running4    ,the      
photographs have solved many complicated
 questions as to animal                 
locomotion4--,art ,journal1 ,london4    
,the effect was weird1 yet fascinating4 
,plaudit followed plaudit4 ,a better    
pleased assemblage of people it would be
 difficult to find4--,boston  ,journal4 
444 ,mr4 ,muybridge then gave his famous
 lecture and demonstration on ,animal   

,locomotion4 ,the hall 7,st4 ,james'7   
was crowded1 and many were unable to    
obtain seats4--,report of the           
,photographic ,convention1 ,british     
,journal of  ,photography4              
,illustration3 #ag4 ,,elephant          
,,ambling4    ,a demonstration that     
vividly interests all the               
world4--,l',illustration1  ,paris4      
,many of these pictures have            
great--indeed1 astonishing--beauty4 ,the
  interest which they present from the  
scientific point of view is             
three-fold3--7a7 ,they are important as 
examples of a very nearly perfect       
method of investigation by photographic 
and electrical appliances4 7b7  ,they   
have also a great value on account of   
the actual facts of natural  history and
 physiology which they record4 7c7 ,they
 have1 thirdly1 a quite  distinct1 and  
perhaps their most definite1 interest in
 their relation to  psychology4--,,prof4
 ,e4 ,,ray ,,lankester1 ,f4 ,r4 ,s41 in 
,nature4    ,illustration3 #ah4 ,,lion  

,,walking4    ,mr4 ,meissonier's        
critical guests were evidently sceptical
 as to the  accuracy of many of the     
positions2 but when the photographs were
 turned  rapidly1 and made to pass      
before the lantern1 their truthfulness  
was  demonstrated most                  
successfully4--,standard1 ,london4      
,meissonier1 devoting himself to his    
friends1 evidently cared little for     
personal compliments2 he was anxious for
 the well-deserved distinction of  his  
protg ,muybridge4444 ',c'est            
merveilleusement arrang6' said          
,alexandre ,dumas4 ',c'est que la nature
 compose crnement bien6' replied        
,meissonier4--,le ,temps1 ,paris4       
,illustration3 #bj4 ,,egyptian ,,camel  
,,racking4    ,the sensation of the day1
 and the topic of popular               
conversation4--,boston  ,daily          
,advertiser4    ,the rapid movements by 
different animals were most interesting3
 and  hurdle-racing by horses--the very 
whipping process being visible--brought 

down the house4--,boston ,herald4    ,on
 revolving the instrument1 the figures  
that have been derided by so many  as   
impossible absurdities1 started into    
life1 and such a perfect  representation
 of a racehorse at full speed as was    
never before witnessed  was immediately 
visible4--,the ,field1 ,london4         
,illustration3 #ba4 ,,baboon ,,walking4 
,mr4 ,muybridge showed that many of our 
best artists have been in the habit  of 
depicting animals in positions which    
they never assume in                    
nature4--,chambers' ,edinburgh ,journal4
    ,the large school-room 7,clifton    
,college7 was crowded4 ,the head master 
presided4 ,loud applause and frequent   
laughter greeted the life-sized         
photographs from nature1 which by a     
rapid revolution of the ,,zoopraxiscope1
  showed among other actions1 the       
ambling of an elephant1 the gallop of a 
race-horse1 the somersault of a gymnast 
and the flight of a  bird4--,bristol    
,mercury4    ,illustration3 #bb4        

,,kangaroo ,,jumping4    ,the lecture   
theatre of the ,,royal ,,academy ,,of   
,,arts was filled to                    
overflowing4--,athenum1 ,london4    ,the
 ,royal ,dublin ,society's ,theatre was 
filled to its utmost capacity  yesterday
 afternoon1 when ,mr4 ,muybridge resumed
 his course of ,lectures4 ,the          
demonstration is simply                 
marvellous4--,daily ,express1 ,dublin4  
,the result of years of labor1 and of   
large expenditure of money is at last   
laid before the public in this          
magnificent work1 and the result is one 
of  which ,mr4 ,muybridge and the       
,university of ,pennsylvania may well be
  proud4--,evening ,post1 ,new ,york4   
,illustration3 #bc4 ,,buffalo           
,,galloping4    ,a ,lecture of an       
exceptionally interesting               
character4--,nottingham  ,guardian4     
,there was a crowded attendance4        
,throughout the lecture ,mr4 ,muybridge 
retained the close interest of his      
audience1 and drew from them frequent   

and warm applause4--,the ,scotsman1     
,edinburgh4    ,in all my long          
experience of ,london life ,i cannot    
recall a single instance  where such    
warm tributes of admiration have been so
 unsparingly given by  the greatest in  
the land1 as in the case of ,mr4        
,muybridge's  lectures4--,,olive ,,logan
 in the ,morning ,call1 ,san ,francisco4
    ,illustration3 #bd4 ,,elk           
,,galloping4    ,mr4 ,muybridge         
illustrated his lecture with a series of
 most valuable  photographs1 as well as 
that most fascinating of scientific     
toys--the  ,,zoopraxiscope4--,magazine  
of ,art1 ,london4    ,his labors        
attracted considerable attention in the 
world of science1 while  among artists  
and art critics a pretty controversy set
 in on the subject of  the horse and his
 representation in art1 which is likely 
to be revived and  extended to other    
fields4444 ,with ,mr4 ,muybridge1       
',instantaneous  ,photography' has      
acquired a new significance1            

444--,saturday ,review1  ,london4       
,illustration3 #be4 ,,monkeys ,,climbing
 ,a ,,cocoa ,,palm4    ,no parallel in  
the history of                          
photography4--,photographic ,times1 ,new
  ,york4    ,an exhibition which        
,raphael1 ,tintoretto1 ,michael ,angelo1
 and other great  masters of the        
,renaissance would have travelled all   
over ,europe to  see4--,evening         
,transcript1 ,boston4    ,the audience  
was astonished and delighted at the     
marvellous demonstrations  of ,animal   
,locomotion that were brought before    
them4444 ,the most remarkable  feature  
of the ,british ,association meeting    
this year4--,newcastle  ,journal4       
,illustration3 #bh4 ,,greyhound         
,,galloping4    ,the effects of the     
,,zoopraxiscope made up one of the most 
unique and  instructive entertainments  
imaginable4--,boston ,daily ,globe4     
,a more curious1 entertaining1 and      
suggestive exhibition it has not been   
our good fortune for a long time to     

attend4--,sacramento ,record-,union4    
,everybody has heard something of the   
wonderful success which ,mr4 ,muybridge 
has achieved2 and in no country in the  
world is greater interest felt in  his  
work1 particularly as regards horses1   
than in ,england4--,engineering1        
,london4    ,illustration3 #bi4 ,,mule1 
,,bucking ,,and ,,kicking4    ,simply   
marvels of the photographer's           
art4--,mercury1 ,leeds4    ,not the     
least instructive part of the ,lecture  
was the contrast between the  positions 
of animals as shown in ancient and      
modern art1 with their true  positions  
as shown by themselves in the           
camera4--,new ,york ,tribune4           
,professor ,marey invited to his        
residence a large number of the most    
eminent men in ,europe for the purpose  
of meeting ,mr4 ,muybridge1 and         
witnessing an exhibition that should be 
placed before the whole ,parisian       
public4--,le ,globe1 ,paris4            
,illustration3 #cb4 ,,pigeons ,,flying4 

,the art critic and the connoisseur will
 find a study of ,mr4 ,muybridge's  work
 of inestimable value in aiding them to 
criticize                               
intelligently4--,pennsylvanian1         
,philadelphia4    ,the applause which   
greeted these wonderful pictures from   
the brilliant  company was hearty in the
 extreme2 and all predicted a new era   
was open to  art1 and new resources made
 available for the use of               
artists4--,galignani's ,messenger1      
,paris4    ,of immense interest and     
value4--,lippincott's ,magazine1        
,philadelphia4    ,illustration3 #cd4   
,,grecian ,,dancing ,,girls4    ,the    
,,zoopraxiscope is the latest1 most     
unique1 and instructive form of         
amusement possible4--,commercial        
,gazette1 ,cincinnati4    ,his work at  
once attracted the attention of the     
world4--,scientific  ,american1 ,new    
,york4    ,of much interest and value1  
as well as a source of great            
amusement4--,observer1 ,london4    ,the 

realism of the motions of the various   
animals was intense1 and the  audience  
was very enthusiastic4--,boston ,post4  
,illustration3 #ci4 ,,horse ,,trotting  
7fast74    ,the ,lecturer proceeded to  
show enlarged photographs of various    
animals in  motion1 as the horse1 dog1  
lion1 mule1 cat1 etc4444 ,these were    
followed by  some very striking pictures
 of the flight of birds1 which from a   
scientific  standpoint were by far the  
most interesting and valuable of the    
photographs  shown during the           
evening4--,lancet1 ,london4    ,of      
extreme interest1 not only to the       
artists and scientists1 but to the      
greater part of his audience1 who were  
neither the one or the                  
other4--,birmingham ,daily ,gazette4    
,illustration3 #da4 ,,horse ,,cantering4
    ,a host of well-known scientists and
 artists are greatly interested in this 
remarkable work4--,pall ,mall ,gazette4 
,the lecture on ,tuesday night more than
 fulfilled the expectations which  the  

audience had formed of ,mr4 ,muybridge's
 researches4--,belfast ,news  ,letter4  
,mr4 ,muybridge might well be proud of  
the reception accorded him by his       
distinguished audience2 it would have   
been difficult to add to the clat  of   
his appearance1 and his lecture was     
welcomed by a warmth as hearty as it    
was spontaneous4--,the ,photographic    
,news1 ,london4    ,illustration3 #db4  
,,horse ,,galloping4    ,the            
illustrations are truly wonderful1 and  
the rapid changing positions  were most 
instructive4--,nottingham ,express4     
,the concert room was crowded4444 ,a    
vote of thanks to the ,lecturer was     
proposed by his ,grace the              
,archbishop4--,yorkshire ,chronicle4    
,a very brilliant audience was assembled
 at the ,royal ,institution4444 ,the    
photographs properly studied should be  
most valuable in affording truer and    
more exact data for the painter to base 
his work upon4444--,the ,builder1       
,london4    ,illustration3 #dc4 ,,horse 

,,jumping4    ,a very important subject 
to all those interested in              
art4--,belfast ,news  ,letter4    ,it is
 now nine years since the photographs of
 ,mr4 ,eadweard ,muybridge  surprised   
the world by challenging all received   
conceptions of animal  motion4--,century
 ,magazine1 ,new ,york4    ,the interest
 excited by the novelty1 both of the    
demonstrations and the  results1 was so 
great1 that ,mr4 ,muybridge has been    
invited by the  ,photographic ,society  
of ,ireland to repeat them to-night in a
 public  lecture4--,the ,freeman's      
,journal1 ,dublin4    ,illustration3    
#dd4 ,,horse ,,hauling4    ,the audience
 filled the large hall1 and by their    
frequent and hearty  applause1 expressed
 their appreciation of the              
lecture4--,irish ,times1  ,dublin4    ,a
 very large audience again assembled in 
the ,town ,hall last evening1 on  the   
occasion of the second ,lecture by ,mr4 
,muybridge4 ,the ,mayor1 who  presided1 
referred to the first ,lecture as       

perhaps the most unique ever  delivered 
in ,birmingham4--,birmingham ,daily     
,gazette4    ,the attendance was        
exceedingly large1 and the ,lecture and 
admirable  illustrations were loudly    
applauded4--,the ,irish ,times1 ,dublin4
    ,illustration3 #de4 ,,columbian     
,,exposition ,,horse ,,race1            
,,galloping4    ,there was a very large 
attendance1 and seldom have we seen so  
much genuine  admiration and enthusiasm 
displayed as were evoked by ,mr4        
,muybridge's  illustrations1 which were 
really wonderful4--,the ,daily ,express1
 ,dublin4    ,there was a crowded       
audience1 and the ,lecture1 which was   
listened to with  the greatest interest1
 was warmly applauded4--,the ,freeman's 
,journal1  ,dublin4    ,no description  
can do justice to the extent and variety
 of the subjects  presented in this     
thorough study of animal                
movements4--,ledger1  ,philadelphia4    
,illustration3 #df4 ,,columbian         
,,exposition ,,horse ,,race1 ,,trotting4

    ,wonderful and interesting          
demonstration2 its influence will become
 more  and more potent and universal as 
the years go on4--,argus1 ,albany4      
,will necessarily revolutionize the     
treatment of the action of the horse in 
painting and sculpture4 ,for the        
physiological study of animal movements 
these pictures are a veritable          
treasure4--,landwirthschaftliche-,zeitun
g1  ,vienna4    ,i am lost with         
admiration of these photographs of ,mr4 
,muybridge4--,,professor ,,marey1 in ,la
 ,nature1 ,paris4    ,illustration3 #dg4
 ,,columbian ,,exposition ,,speedway4   
,interesting and instructive to         
all4--,new ,york ,herald4    ,highly    
interesting and valuable for every lover
 of horses4--,illustrirte  ,zeitung1    
,berlin4    ,we cannot more fittingly   
conclude our review than by repeating   
our  recommendation of the work to all  
artistic and scientific bodies4--,the   
,nation1 ,new ,york4    ,so perfect was 
the synthesis that a dog in the lecture 

room barked and  endeavored to chase the
 phantom horses as they galloped across 
the  screen4--,berkeley ,weekly ,news4  
,illustration3 #dh4 ,,village           
,,blacksmiths4    ,noted artists1 such  
as ,menzel1 ,knaus1 ,begas2 eminent     
scientists1 such as  von ,helmholtz1    
,siemens and ,frster and even the       
imperturbable  field-marshal1 ,count von
 ,moltke1 were enthusiastic in their    
applause4--,illustrirte ,zeitung4    ,a 
very large number could not obtain      
admission1 so great was the desire to   
hear the lecture4444 ,a wonderful       
surprise even to the careful observer of
  ,nature4--,die ,press1 ,vienna4       
,the lecture was received with stormy   
applause4--,berliner ,post1 ,berlin4    
,the lecture was given in a popular     
manner1 with scientific accuracy and    
artistic taste4444 ,the room was filled 
to the last corner2 nearly all the      
,royal ,family and the ,ministers were  
present4--,mnchener ,neueste            
,nachrichten1 ,munich4    ,illustration3

 #di4 ,a ,,fan ,,flirtation4    ,after  
attending ,mr4 ,muybridge's             
demonstrations1 we felt no surprise at  
his  having been received so            
enthusiastically in ,paris4--,berliner  
,tageblatt1  ,berlin4    ,the lectures  
of ,mr4 ,muybridge are unquestionably   
the most intensely  interesting we ever 
listened to4 ,no one in ,berlin should  
fail to attend  them4--,norddeutsch     
,allgem ,zeitung1 ,berlin4    ,some     
lectures are too technical for the      
general public4 ,here is one in  which  
everybody is interested4 ,the ,lecture  
,theatre was crammed to  repletion2 we  
thought a few vacant places might have  
been reserved for  those whose pleasant 
duty it is to record the brilliant      
success of ,mr4  ,muybridge4--,pall     
,mall ,budget1 ,london4                 
,illustration3 #ej4 ,,athlete1 ,,running
 ,,long ,,jump4    ,so great an interest
 did the demonstrations excite that ,mr4
 ,muybridge was  unanimously requested  
to repeat them4 ,two days afterward this

 distinguished  company1 including the  
venerable ,field-,marshal 7,count von   
,moltke7 himself1  attended a repetition
 of the lecture4--,illustrirte ,zeitung4
           99       99       99       99
       99      ,,appendix ,b4           
,,animal ,,locomotion4    ,,description 
,,of ,,the ,,plates4    ,the results of 
the investigation executed for the      
,university of  ,pennsylvania are       
,,seven ,,hundred ,,and ,,eighty-,,one  
,,sheets ,,of ,,illustrations1          
containing more than #bj1jjj figures of 
men1 women1 and children1 animals  and  
birds1 actively engaged in walking1     
galloping1 flying1 working1  jumping1   
fighting1 dancing1 playing at base-ball1
 cricket1 and other  athletic games1 or 
other actions incidental to every-day   
life1 which  illustrate motion or the   
play of muscles4    ,these sheets of    
illustrations are conventionally called 
plates4    ,,each ,,plate ,,is          
,,complete ,,in ,,itself ,,without      
,,reference ,,to ,,any ,,other ,,plate1 

and illustrates the successive phases of
 a single action1 photographed with     
automatic electro-photographic apparatus
 at regulated and accurately  recorded  
intervals of time1 consecutively from   
one point of view2 or1  consecutively   
,,and synchronously from two1 or from   
three points of  view4    ,a series of  
twelve consecutive exposures1 from each 
of the three points of  view1 are       
represented by an outline tracing on a  
small scale of plate #egi1  a complete  
stride of a horse walking2 the intervals
 of exposures are  recorded as being one
 hundred and twenty-six one-thousandths 
of a second4    ,illustration3 ,,reduced
 ,,outline ,,tracing ,,of ,,plate       
#egi4--;,,animal ,,locomotion4          
,illustration3 ,,reduced ,,tracing ,,of 
,,some ,,phases ,,from ,,plate #geh4    
,illustration3 ,,reduced ,,tracings ,,of
 ,,plate #cdg4        ,when one of the  
series of foreshortenings is made at a  
right angle with the  lateral series the
 arrangement of the phases is usually   

thus3       #a  #b  #c  #d  #e  #f  #g  
#h  #i  #aj  #aa  #ab    ,laterals4     
#a  #b  #c  #d  #e  #f  #g  #h  #i  #aj 
#aa  #ab    ,rear ,foreshortenings      
from points of view on                  
the same vertical line1                 
at an angle of #ij deg4                 
from the ,laterals4       #a  #b  #c  #d
  #e  #f  #g  #h  #i  #aj  #aa  #ab     
,front ,foreshortenings                 
from points of view on                  
the same horizontal                     
plane1 at suitable angles               
from the ,laterals4      ,the plates are
 not photographs in the common          
acceptation of the word1 but  are       
printed in ,,permanent ,,ink1 from      
gelatinised copper-plates1 by the ,new  
,york ,photo-,gravure ,company1 on thick
 linen plate-paper4    ,the size of the 
paper is #de  #fj centimetres--7#ai  #bd
 inches71 and the  printed surface      
varies from #ae  #de to #bj  #cj        
centimetres--7#f  #ah to #i   #ab       
inches74    ,the number of figures on   

each plate varies from #ab to #cf4      
,to publish so great a number of plates 
as one undivided work was considered    
unnecessary1 for each subject tells its 
own story2 and inexpedient1 for it      
would defeat the object which the       
,university had in view1 and limit its  
acquisition to wealthy individuals1     
large ,libraries1 or ,institutions where
  it would be beyond the reach of many  
who might desire to study it4    ,it    
has1 therefore1 been decided to issue a 
series of ,one ,hundred ,plates1  which 
number1 for the purposes of publication1
 will be considered as a  ,,copy of the 
work4 ,these one hundred plates will    
probably meet the  requirements of the  
greater number of the subscribers4      
,in accordance with this view is        
re-issued the following prospectus4     
,,prospectus    ,,animal ,,locomotion1  
,,an ,,electro-,,photographic           
,,investigation ,,of ,,consecutive      
,,phases ,,of ,,animal ,,movements1     
,,by    ,,eadweard ,,muybridge4         

,commenced1 #ahgb--;,completed1 #ahhe4  
,,published #ahhg1 ,,under ,,the        
,,auspices ,,of ,,the    ,,university   
,,of ,,pennsylvania4    ,exclusively by 
,subscription4    ,,consisting ,,of ,a  
,,series ,,of    ,,one ,,hundred        
,,plates1    ,,at ,a ,,subscription     
,,price ,,of    ,,one ,,hundred         
,,dollars ,for the ,united ,states1 or  
,,twenty ,,guineas ,for ,great          
,britain2    ,or the equivalent of      
,twenty ,guineas in the gold currency   
of other countries in ,central or       
,western ,europe4    ,the ,plates are   
enclosed in a strong1 canvas-lined1 full
 ,,american-,,russia  ,,leather         
,,portfolio4    ,additional ,plates in  
any required number will be supplied to 
the subscriber  at the same             
proportionate rate2 these1 however1 must
 be ordered at the same  time as the    
subscription ,plates4    ,it was        
considered inadvisable to make an       
arbitrary selection of the one  hundred 
,plates offered to subscribers1 and with

 the object of meeting1 as  far as      
possible1 their diverse requirements1   
they are invited to make their  own     
selection1 either from the subjoined    
list of subjects1 or from a  detailed   
catalogue1 which will be forwarded free 
of expense to every  subscriber4    ,the
 following are the numbers of ,plates   
published of each class of  subjects1   
from which the subscriber's selection   
can be made3--      ,class4             
,plates ,published4     #a4 ,men1 draped
                                        
#f     #b4     pelvis cloth             
#gb     #c4     nude                    
#acc     #d4 ,women1 draped             
#fj     #e4       transparent drapery   
and semi-nude            #fc     #f4    
nude                                    
#ahj     #g4 ,children1 draped          
#a     #h4          nude                
#ae     #i4 ,movements of a man's hand  
#e    #aj4 ,abnormal movements1 men and 
women1 nude         and semi-nude       
#bg    #aa4 ,horses walking1 trotting1  

galloping1 jumping1 c4   #ie    #ab4    
,mules1 oxen1 dogs1 cats1 goats1 and    
other domestic         animals          
#dj    #ac4 ,lions1 elephants1          
buffaloes1 camels1 deer1 and            
other wild animals                      
#eg    #ad4 ,pigeons1 vultures1         
ostriches1 eagles1 cranes and           
other birds                             
#bg                                     
---            ,total number of ,plates 
#gha        ,containing more than       
#bj1jjj ,figures4    ,should the        
selection be made from the ,catalogue1  
it will be advisable to  give the       
,author permission to change any one of 
the selected ,plates for any  other     
illustrating the same action1 if1 in his
 judgment1 the substituted  ,plate      
illustrates that action with a better   
model1 or in a more perfect  manner than
 the one selected4    ,with regard to   
the selection of ,plates1 however1 it   
has been found by  experience that      
unless any special subject or plate is  

required it will be  more satisfactory  
to the subscriber if he gives the       
,author ,,general  ,,instructions as to 
the ,,class of subjects desired and to  
leave the ,,specific  selection to him4 
,many of the large ,libraries and ,art  
or ,science ,institutions in ,america   
and  in ,europe have subscribed for1 and
 have now in their possession1 a        
complete  series of the seven hundred   
and eighty-one ,plates1 the subscription
 price  for which is    ,,five ,,hundred
 ,,dollars    in the ,united ,states1   
,,one ,,hundred ,,guineas    in ,great  
,britain for the complete series1 in    
eight full ,,american-,,russia          
,,leather ,,portfolios1 or if bound in  
eleven volumes1 each plate hinged1  full
 ,american-,russia leather1    ,,five   
,,hundred ,,and ,,fifty ,,dollars    in 
the ,united ,states1    ,,one ,,hundred 
,,and ,,ten ,,guineas    in ,great      
,britain2 or its equivalent for any city
 in ,central or ,western  ,europe4      
,subscribers who wish to make use of    

these ,plates for the promotion or      
diffusion of knowledge1 or for artistic 
or scientific purposes1 will be         
afforded facilities for acquiring       
working copies by special arrangement   
with the ,author4    ,the investigations
 of the ,author are so well known2 and  
so generally  recognized as affording   
the only basis of truthful              
interpretation or  accurate criticism of
 ,animal ,movement1 that it is perhaps  
scarcely  necessary to quote from the   
many elaborate reviews of ,animal       
,locomotion1  which have been published 
in the ,american1 ,english1 ,french1 and
 ,german  ,scientific1 ,artistic1 and   
other ,journals4 ,a few extracts        
therefrom are  however given in         
,appendix ,a4    ,for the value of the  
present work to the general student of  
,nature and the  lover of ,art1 no less 
than to the ,artist and the             
,archologist1 the  ,physiologist and the
 ,anatomist1 it is with much pride and  
gratitude that he  refers to the annexed

 list of some of his subscribers4       
,,subscribers4    ,the general or       
departmental ,libraries of the following
    ,,universities4      ,amsterdam     
,andrews1 ,st4    ,basel    ,berlin     
,bern    ,bologna    ,bonn    ,breslau  
,bruxelles    ,edinburgh    ,erlangen   
,freiburg    ,genve    ,genova          
,glasgow    ,gttingen    ,griefswald    
,hall    ,heidelberg    ,innsbrck       
,jena    ,kiel    ,knigsberg    ,leiden 
,leipzig    ,lige    ,louvain    ,mnchen
    ,napoli    ,oxford    ,padova       
,pisa    ,prag    ,roma    ,rostock     
,strassburg    ,torino    ,tbingen      
,utrecht    ,wien    ,wrzberg    ,zrich 
,,imperial1 ,,national1 ,,or ,,royal    
,,academies ,,of ,,fine ,,arts4         
,amsterdam    ,antwerpen    ,berlin     
,bern    ,birmingham    ,bologna        
,breslau    ,bruxelles    ,budapest     
,dresden    ,dsseldorf    ,firenze      
,frankfurt    ,genova    ,gent          
,leipzig    ,lige    ,london            
,manchester    ,milano    ,mnchen       

,napoli    ,paris    ,praha    ,roma 7de
 ,france7    ,sheffield    ,torino      
,venezia    ,wien    ,zrich             
,architectural ,institute1 ,mnchen      
,herkomer ,school of ,art1 ,bushey      
,,art ,,museums4      ,amsterdam        
,berlin    ,budapest    ,,arch,,ological
 ,,institutes ,,and ,,museums4          
,dresden    ,griefswald    ,heidelberg  
,knigsberg    ,leipzig    ,prag         
,rostock    ,strassburg    ,wien        
,wrzburg    ,zrich    ,,industrial ,,art
 ,,and ,,science ,,museums4      ,berlin
    ,dublin    ,edinburgh    ,kensington
    ,paris    ,wien    ,,industrial     
,,art ,,schools4      ,amsterdam        
,breslau    ,budapest    ,frankfurt     
,nrnberg    ,zrich    ,,libraries4      
,the ,royal ,library1 ,windsor ,castle4 
,imperial ,library1 ,berlin4            
,birmingham1 ,free ,public              
,edinburgh1 ,advocates'    ,glasgow1    
,mitchell ,free    ,liverpool1 ,free    
,public    ,london1 ,british ,museum    
,manchester1 ,free ,public              

,nottingham1 ,free ,public    ,paris1   
,national ,library    ,,anatomical      
,,institutes4      ,bern    ,breslau    
,freiburg    ,hall    ,innsbrck    ,kiel
    ,knigsberg    ,leipzig    ,mnchen   
,pisa    ,prag    ,rostock    ,tbingen  
,wrzburg    ,zrich    ,,royal ,,colleges
 ,,of ,,surgeons4      ,edinburgh       
,london    ,,physiological ,,institutes4
      ,basel    ,berlin    ,bern        
,bologna    ,bonn    ,breslau           
,bruxelles    ,erlangen    ,freiburg    
,genova    ,gttingen    ,griefswald     
,hall    ,heidelberg    ,innsbrck       
,jena    ,kiel    ,knigsberg    ,leipzig
    ,louvain    ,mnchen    ,napoli      
,prag    ,rostock    ,strassburg        
,torino    ,tbingen    ,wien    ,wrzburg
    ,zrich    ,,veterinary ,,institutes4
      ,alfort    ,bern    ,berlin       
,dresden    ,london    ,,anthropological
 ,,museums4      ,dresden    ,firenze   
,,ethnological1 ,,natural ,,history1    
,,and ,,zo,,logical  ,,institutes ,,and 
,,museums4      ,amsterdam    ,bruxelles

    ,freiburg    ,kiel    ,leiden       
,lige    ,napoli    ,paris    ,rostock  
,,physical ,,institutes4      ,basel    
,bologna    ,bruxelles    ,genve        
,heidelberg    ,padova    ,prag    ,roma
    ,rostock    ,utrecht                
,,polytechnic ,,high ,,schools4         
,berlin    ,firenze    ,wien    ,zrich  
,,colleges4      ,charterhouse          
,clifton    ,dublin 7,trin47    ,eton   
,owens    ,wellington    ,,royal        
,,porcelain ,,manufactories4            
,berlin    ,dresden    ,,artistic1      
,,literary ,,or ,,scientific ,,clubs4   
,dsseldorf1 ,malkesten    ,glasgow1     
,western    ,london1 ,athenum    ,rome1 
,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       
,physicians1 ,edinburgh    ,royal       
,institution1 ,edinburgh    ,royal      
,dublin ,society    ,royal ,society of  

,london    ,,departments ,,of ,,the ,u4 
,s4 ,,government4      ,bureau of       
,education    ,bureau of ,engraving     
,bureau of ,ethnology    ,department of 
,war    ,library of ,congress           
,national ,museum    ,patent ,office    
,smithsonian ,institution    ,surgeon   
,general's ,office4    ,,institutions   
,,of ,,art ,,and ,,of ,,art ,,training4 
,baltimore1 ,maryland ,institute4       
,boston1 ,museum of ,fine ,arts4        
,chicago1 ,art ,institute4              
,cincinnati1 ,art ,museum4              
,milwaukee1 ,school of ,design4         
,minneapolis1 ,school of ,design4       
,new ,bedford1 ,swain ,school4    ,new  
,york1 ,cooper ,union4    ,new ,york1   
,metropolitan ,museum of ,art4    ,new  
,york1 ,national ,academy of ,design4   
,philadelphia1 ,academy of ,fine ,arts4 
,philadelphia1 ,school of ,industrial   
,art4    ,philadelphia1 ,school of      
,design for ,women4    ,st4 ,louis1     
,museum of ,fine ,arts4    ,washington1 
,corcoran ,gallery of ,art4             

,,institutions ,,of ,,science4          
,academy of ,natural ,sciences1         
,philadelphia4    ,american ,institute1 
,new ,york4    ,american ,philosophical 
,society1 ,philadelphia4    ,college of 
,physicians1 ,philadelphia4    ,essex   
,institute1 ,salem4    ,franklin        
,institute1 ,philadelphia4    ,museum of
 ,comparative ,zology1 ,cambridge4      
,museum of ,natural ,history1 ,new      
,york4    ,peabody ,museum of ,yale     
,college4    ,,universities ,,and       
,,colleges4      ,brown    ,columbia    
,cornell    ,harvard    ,johns ,hopkins 
,kansas    ,lehigh    ,minnesota        
,nebraska    ,new ,york    ,pennsylvania
    ,princeton    ,vassar    ,vermont   
,wellesley    ,yale    ,,libraries4     
,baltimore--,peabody                    
,boston--,athenum    ,boston--,public   
,brooklyn--,l4 ,i4 ,historical          
,brooklyn ,library                      
,chicago--,historical                   
,chicago--,public                       
,cincinnati--,public                    

,denver--,mercantile    ,harlem ,library
    ,massachusetts--,state              
,minneapolis--,public    ,new           
,bedford--,public    ,new               
,york--,mercantile    ,new ,york--,state
    ,pennsylvania--,state               
,philadelphia ,library    ,st4          
,paul--,public    ,san                  
,francisco--,public    ,springfield     
7,mass47--,public    ,wisconsin--,state 
,historical    ,worcester               
7,mass47--,public    ,it is impossible  
within the limits of this appendix to   
record the names of  the many well-known
 ,dilettanti1 ,art ,connoisseurs1       
,manufacturers1 etc41  who have acquired
 copies of ,animal ,locomotion1 and it  
is difficult1 without  unjust           
discrimination1 to select a few from    
among the many ,eminent ,men  whose     
names and works are known all over the  
world and who are subscribers4  ,among  
those1 however1 who have honored the    
,author by placing their names on  his  
subscription book--all academical and   

university distinctions being           
omitted--are the following3             
,,architects1 ,,painters ,,or           
,,sculptors4      ,alma-,tadema         
,armitage    ,becker    ,begas          
,bonnat    ,boughton    ,bouguereau     
,bridgman    ,burnham    ,carolus-,duran
    ,cavelier    ,conti1 ,tito    ,dalou
    von ,defregger    ,detaille         
,dubois    ,eisenmenger    ,ende        
,faed    ,falguire    ,fildes           
,fremiet    ,frith    ,garnier    ,grme 
,gilbert    ,gordigiani    ,gow         
,herkomer    ,hunt1 ,holman    von      
,kaulbach    ,knaus    ,knight    ,kopf 
,leighton1 ,sir ,f4    von ,lenbach     
von ,lfftz    ,marks    du ,maurier     
,meissonier    von ,menzel    ,millais1 
,sir ,j4,e4    ,morot    ,munkacsy      
,orchardson    ,ouless    ,parsons      
,passini    ,poynter    ,puvis1 de ,ch  
,richardson    ,richmond                
,rivire-,briton    ,robert-,fleury      
,rodin    ,roll    ,roth    ,rmann      
,schilling    ,siemering    ,st4        

,gaudens    ,story    ,thornycroft      
,tiffany    ,vibert    ,villefroy       
,vinea    ,wagner    ,ward    ,watts    
,weeks    ,wells    von ,werner         
,whistler    ,zgel4    ,,arch,,ologists1
 ,,authors ,,of ,,art ,,works1 ,,etc4   
von ,berlepsch    ,bullen    von ,duhn  
,ewald    ,falke    ,furness1 ,h4 ,h4   
von ,kekule    ,klein    ,muntz         
,overbeck    ,pietsch    ,preuner       
,pulszky    ,ruskin    di ,sambuy1      
,conte    ,smith1 ,gen4 ,sir ,r4,m4     
,treu    ,wolff1 ,albert4               
,,anatomists1 ,,anthropologists1        
,,biologists1 ,,ethnologists1           
,,pal,,ontologists1  ,,pathologists1    
,,physiologists1 ,,psychologists1       
,,zoologists1 ,,etc4      ,acland1 ,sir 
,h4 ,w4    ,agassiz1 ,a4    ,barrier    
du ,bois ,reymond    ,bowditch          
,bowman1 ,sir ,w4    ,braune1 ,w4       
,brown-,sequard    ,burdon-,sanderson   
,cleland    ,darwin1 ,f4    ,exner1 ,s4 
,fick    ,flower    ,foster    ,galton1 
,f4    ,gill    ,goode1 ,brown    ,hasse

    ,haughton    ,heidenhain    ,hering 
,humphry    ,huxley    ,jensink    von  
,klliker    von ,kries    ,lankester    
,leidy    ,lubbock1 ,sir ,j4    ,ludwig 
,mantegazza    ,marey    ,marshall      
,meyer    ,milne-,edwards    ,mivart    
,moleschott    ,mosso    ,munk          
,mller1 ,max    ,owen1 ,sir ,r4         
,pasteur    ,pepper ,w4    ,pettigrew   
,rabl    ,romanes    ,rckert    ,schiff 
,schtz    ,virchow1 ,r4    von ,voit    
,wear-,mitchell    ,wood    ,wundt      
von ,zittell4    ,,physicists1 ,,etc4   
,abney    ,blake    ,blazerna           
,bramwell1 ,sir ,f4    ,bunsen          
,ditscheiner    ,edison    ,glaisher    
von ,helmholtz    ,huggins    ,langley  
,mach    ,matthiessen    ,quincke       
,spottiswoode    ,thomson1 ,sir ,w4     
,vogel    ,weber4    ,,military         
,,scientists4      ,field ,marshal      
,count von ,moltke    ,general ,u4 ,s4  
,grant    ,general ,w4 ,t4 ,sherman     
,general ,p4 ,h4 ,sheridan    ,general  
,r4 ,b4 ,hayes4           99       99   

99       99       99    ,,the ,,science 
,,of ,,zoopraxography4    ,made ,popular
 by ,suggestive ,tracings from ,animal  
,locomotion4    ------    ,a series of  
,,fifty ,,engravings1 each of which     
illustrates from #ab to #ae  consecutive
 phases of some complete movement1      
photographed from life4    ,the         
successive phases of each action are    
arranged in a circle ,,nine ,,inches    
,,in ,,diameter2 for reduced copies of  
some of which see appendix ,a4          
,printed on six-ply ,bristol-board and  
enclosed in    ,a ,,strong ,,cloth      
,,portfolio1    size #ajab inches2      
price1 ,five ,dollars in the ,united    
,states2 or ,one ,guinea  in ,great     
,britain4    ,sent free of postage upon 
receipt of price1 to any country within 
the  ,universal ,postal ,union4         
,,eadweard ,,muybridge1                 
,university of ,pennsylvania1           
,philadelphia1 ,u4,s4,a4    ,or1 at #aj 
,henrietta ,street1        ,covent      
,garden1 ,london4           99       99 

99       99       99    ,to convert the 
circles of figures into a               
,,zoopraxiscope1    cut out the disc1   
and1 radiating from the centre thereof1 
about midway from  the margin1 cut or   
stamp thirteen equidistant perforations2
 each an inch  long1 and about the      
sixteenth of an inch wide4    ,pin the  
centre of the disc to a handle and      
revolve it in the direction of  the     
arrow1 at a distance of about           
twenty-four inches1 in front of a       
mirror4    ,by looking through the upper
 series of perforations at the          
reflection of  the lower series of      
figures1 a semblance of the original    
movements of  life will be seen4    ,the
 figures may be appropriately colored1  
and the back of the cardboard  disc     
should be painted a dark color1 or      
covered with a piece of dark  surfaced  
paper before cutting the perforations4  
99       99       99       99       99  
,,descriptive ,,zoopraxography4    ,an  
,elementary ,treatise on ,animal        

,locomotion1    ,,by    ,,eadweard      
,,muybridge4    ------    ,illustrated  
with twelve consecutive                 
phases--occurring during a single       
stride--of each of the six regular      
progressive movements of the horse1     
traced from the results of an           
investigation made by the ,author for   
the  ,university of ,pennsylvania4      
#ab mo4 bound in cloth4 ,price in the   
,united ,states1 ,one ,dollar2 in ,great
  ,britain ,four ,shillings and ,three  
,pence4    ,sent upon receipt of price1 
free of postage to any country within   
the  ,universal ,postal ,union4         
,,eadweard ,,muybridge1                 
,university of ,pennsylvania1           
,philadelphia1 ,u4 ,s4 ,a4    ,or #aj   
,henrietta ,street1        ,covent      
,garden1 ,london4