Some consecutive phases of the amble.SOME CONSECUTIVE PHASES OF THE AMBLE.
The amble has various local names, such as the "single foot," the "fox trot," etc. It has sometimes been erroneously confused with the rack or the so-called "pace;" it is the most gentle and agreeable to the rider of all methods of locomotion of the horse, while the rack is the most ungraceful and disagreeable.
In Scott's romances are many allusions to the "ambling palfry." Ben Jonson in "Every Man in His Humor" speaks of going "out of the old hackney-pace to a fine, easy amble," and Dickens in "Barnaby Rudge" refers to "the gray mare breaking from her sober amble into a gentle trot."
The ambling gait is natural to the elephant, and to the horse, the mule and the ass; but in many countries these latter animals are not encouraged in its use.
The trot is a more or less rapid progressive motion of a quadruped in which the diagonal limbs act nearly simultaneously in being alternately lifted from and placed on the ground, and in which the body of the animal is entirely unsupported twice during each stride.
Selecting for the purpose of illustration the phases occurring during two steps or one-half of a stride of 18 feet in length by a horse trotting at the rate of a mile in two minutes and twelve seconds, we find that at the instant his right fore foot strikes the ground, the left hind foot is a few inches behind the point where it will presently strike. As the feet approach the ground, the right hind leg is drawn forward with the pastern nearly horizontal, while the left fore leg is flexed under the body. After the feet strike the ground and the legs approach a vertical position the pasterns are gradually lowered, and act as springs to break the force of the concussion until they are sometimes bent to a right angle with the legs.
At this period the fore foot is raised so high as to frequently strike the elbow, while the diagonal hind foot is comparatively but little above the ground, and is about to pass to the front of the left hind.
The pasterns gradually rise as the legs pass the vertical until the right fore foot has left the ground and the last propelling force is being exercised by the left hind foot; which accomplished, the animal is in mid air.
The right hind foot continues its onward motion until it is sometimes much in advance of its lateral fore foot, the former, however, being gradually lowered, while the latter is being raised. The right hind and both fore legs are now much flexed, while the left hind is stretched backwards to its greatest extent with the bottom of the foot turned upwards, the left fore leg is being thrust forwards and gradually straightened, with the toe raised as the foot approaches the ground; which accomplished, with a substitution of the left limbs for the right, we find them in the same relative positions as when we commenced our examination, and one-half of the stride is completed.
Some consecutive phases of the trot.SOME CONSECUTIVE PHASES OF THE TROT.
With slight and immaterial differences, such as might be caused by irregularities of the ground, these movements are repeated by the other pair of diagonals, and the stride is then complete.
If the stride of a trotting horse is divided into two portions, representing the comparative distances traversed by the aggregate of the body while the feet are in contact with, and while they are entirely clear of, the ground, the relative measurements will be found to vary very greatly, they being contingent upon length of limb, weight, speed, and other circumstances.
Heavily built horses will sometimes merely drag the feet just above the surface, but, in every instance of a trot, theweightof the body is really unsupported twice during each stride. It sometimes happens that a fast trotter, during the four steps of a stride, will have all his feet clear of the ground for a distance exceeding one-half of the length of the entire stride. Upon landing, a fore foot almost always precedes its diagonal hind.
It will be observed in the illustrations that while during the fast trot the fore feet are lifted so high that they frequently strike the breast, the hind feet are raised but little above the surface of the ground. The trot is common to all the single-toed and to nearly all the cloven-footed and soft-footed animals. It has, however, not been recorded as being adopted by the elephant, the camel, or the giraffe.
The rack, sometimes miscalled the "pace," is a method of quadrupedal locomotion in which two lateral feet with nearly synchronous action are placed upon and lifted from the ground alternately with the other laterals, the body of the animal being in the intervals entirely without support. The distance which the propelling feet hurl the animal through the air depends, as with other movements, upon a variety of circumstances; at a high rate of speed the distance will be about one-half the total length of the stride. Upon landing, a hind foot usually precedes its lateral fore.
Some consecutive phases of the rack.SOME CONSECUTIVE PHASES OF THE RACK.
The rack is an ungraceful gait of the horse, and disagreeable to those who seek comfort in riding.
The movements hitherto described are regular in their action, and a stride may be divided into two parts, each of which—with a change of limbs—is practically similar to the other; we now come to methods of progression which cannot be so divided, and each stride must be considered as a unit of motion.
In the canter we discover the same sequence of foot fallings as in the walk, but not with the same harmonious intervals of time. The gait resembles the gallop in respect to its leaving the horse entirely unsupported for a varying period of time, and in the fact that the spring into the air is always effected from a fore foot, and the landing upon the diagonal hind foot; in other respects it materially differs from that method of progression.
Assuming that during a stride of the canter a horse springs into the air from a left fore foot, the right hind foot will first reach the ground; the two fore legs will at this time be flexed under the body, the right being the first landed, and for a brief period of time the support will devolve upon the laterals. The right fore foot is rapidly followed by the left hind. During a very slow canter the other fore foot will sometimes be landed in advance of the lifting of its diagonal, and the curious phase presented of all of the feet being in contact with the ground at the same instant. Usually, however, the first hind foot to touch the ground will be lifted, and the support thrown upon the diagonals.
The left fore is now brought down, and is followed by the lifting of the right fore; when the left laterals assume the duty of support. The left hind is now raised, and with a final thrust of the left fore foot the animal is projected into the air, to land again upon its diagonal, and repeat the same sequence of movements.
The above phases are selected from a single complete stride, in which the landing occurs on therighthind foot. Had the horse sprung from arightfore foot, the right and left feet would have been reversed through the entire series.
Some consecutive phases of the canter.SOME CONSECUTIVE PHASES OF THE CANTER.
The gallop is the most rapid method of quadrupedal motion; in its action the feet are independently brought to the ground; the spring into the air as in the canter is effected from a fore foot, and the landing upon the diagonal hind foot.
The phases illustrated are selected from the stride of a thorough-bred Kentucky horse, galloping at the rate of a mile in a hundred seconds, with a stride of about twenty-one lineal feet.
The length of stride and the distance which the body is carried forward without support depend upon many circumstances, such as the breed, build and condition of the horse, speed, track, etc.
The phases illustrated and the measurement given apply to one stride of one horse, but may be considered as fairly representing the stride of a first-class horse in prime racing condition at the height of his speed, upon a good track.
Assuming—as in this instance—the springing into the air to have been effected from the right fore foot, the landing will take place in advance of the centre of gravity, upon the diagonal, or left hind foot; above, will be suspended the right hind foot, and at a higher elevation, several inches to the rear, will be the right fore foot, with the sole turned upward. The left fore leg will be in advance of the right, and also flexed. The force of the impact and the weight of the horse causes the pastern to form a right angle with the leg, and the heel is impressed into the ground.
Some consecutive phases of the rack.SOME CONSECUTIVE PHASES OF THE GALLOP.
The right hind foot strikes the ground and shares the weight of the body. The left hind foot leaves the ground while the right hind pastern is in its horizontal phase, supporting all the weight. At this period the left fore leg is perfectly straight, with the toe much higher than the heel, and is thrust forward until the pastern joint is vertical with the nose, the right fore knee is bent at a right angle. The left fore foot now strikes and these diagonals are for a brief period upon the ground together. The left fore leg, however, immediately assumes the entire responsibility of support and attains a vertical position, with the pastern at a right angle. The right fore leg becomes perfectly rigid, and is thrust forward to its fullest extent. The right fore foot now strikes the ground, the two fore legs form a right angle, and the hind feet are found thrust backward, the right to its fullest extent. The left fore leg having completed its functions of support, is now lifted, and the weight transferred to the right fore foot alone, which is soon found behind the centre of gravity; the left hind foot passes to the front of the right fore leg, which, exercising its final act of propulsion, thrusts the horse through the air; the left hind foot descends; the stride is completed, and the consecutive phases are renewed. From this analysis we learn that if the spring is made from the right fore foot during the rapid gallop of a thoroughbred horse, it is supported consecutively by
The left hind foot.
Both hind feet.
The right hind foot.
The right hind and the left fore feet.
The left fore foot.
Both fore feet.
The right fore foot.
From which he springs into the air to re-commence the phases with the left hind foot, while the only phase in which he has been discovered without support is one when the legs are flexed under the body. All of the feet at this time are nearly close together and have comparatively little independent motion; this phase, therefore, more persistently than any other, forces itself upon the attention of the careful observer, and conveys to him the impression of a horse's rapid motion in singular contradiction to the conventional interpretation, until quite recently, usually adopted by the Artist.
It should not be understood that the term "spring" implies that the body of the horse is greatly elevated by that action; were it so, much force would be unnecessarily expended with the result of loss of speed. The center of gravity of a horse trotting or galloping at a high rate of speed will preserve an almost strictly horizontal line, the undulations being very slight.
In the gallop of the horse it is probable there may be sometimes a period of suspension between the lifting of one fore foot and the descent of the other, but it has not yet been demonstrated.
The method of galloping described applies to the horse and its allies, and to most of the cloven and soft-footed animals.
In the gallop of the dog the sequence of foot falling and the action of the body is materially different, and the animal is free from support twice in each stride.
The gallop of the dog.THE GALLOP OF THE DOG.
Assuming that a racing hound after a flight through the air with elongated body and extended legs (like the conventional galloping horse), lands upon the left fore foot, the right fore will next touch the ground; from this he will again spring into the air, and with curved body and flexed legs land upon the right hind foot, while the right fore feet will be half the length of the body to the rear. The left hind now descends, another flight is effected, and again the left fore repeats its functions of support and propulsion.
These successive foot fallings are common to all dogs when galloping, and it is worthy of note that the same rotary action in the use of the limbs is adopted in the gallop of the elk, the deer and the antelope, all of which animals, like the dog, can for a time excel the horse in speed.
A search through all the dictionaries published at the time of writing, and accessible to the Author, fails to discover a correct definition of "the gallop." This motion is in America frequently miscalled the "run," and its execution "running," but no corresponding explanation of the word is given by any lexicographer.
In Scott's "Lady of the Lake" occurs "Then faint afar are heard the feet of rushing steeds ingallopfleet," many other distinguished Authors refer to the same action by the same name, by which, or its equivalents, it is universally known in Europe.
There is little essential difference in general characteristics of either of the several movements that have been described, but with a number of experiments made with horses while leaping, no two were found to agree in the manner of execution. The leap of the same horse at the same rate of speed, with the same rider, over the same hurdle, disclosed much variation in the rise, clearance, and descent of the animal. A few phases were, however, invariable. While the horse was raising his body to clear the hurdle, one hind foot was always in advance of the other, which exercised its last energy alone.
On the descent, the concussion was always first received by one fore foot, followed more or less rapidly by the other, sometimes as much as 30 inches in advance of where the first one struck; the hind feet were also landed with intervals of time and distance.
No attempt will be made to analyze the consecutive phases of various other acts of Animal Locomotion, such as rearing, bucking, kicking, tossing, etc., on account of the irregularity which characterizes their execution, and the difficulty of obtaining reliable data.
The Author has vainly sought for the rules which govern the hind feet of a playfully disposed mule; but the inquiry has usually been unsatisfactory, and upon some occasions disastrous. Should these movements be controlled by any general law, it is of such a complex nature that all attempts to expound it have hitherto been fruitless.
The figures in the series of circles (see appendix A) were selected from
"ANIMAL LOCOMOTION"
"ANIMAL LOCOMOTION"
and arranged by the Author for his less ambitious work,
"POPULAR ZOOPRAXOGRAPHY."
"POPULAR ZOOPRAXOGRAPHY."
(See Appendix C).
They were traced by the well known artist, Erwin Faber, and are reproduced one-third the diameter of the circles arranged for the zoöpraxiscope. Many of the original phases of movement are omitted on account of the optical law which in the construction of a zoöpraxiscope requires that the number of illustrations must bear a certain relationship to the number of perforations through which they are viewed.
The popular number of thirteen having been selected for the latter, the same number of figures illustrate actions without lateral progressive motion.
When the number of illustrated phases is less than the number of perforations, the succession of phases is in the direction of the motion, and the disc is necessarily revolved in a reverse direction.
When the number of phases is greater than the number of perforations, the phases succeed each other in a direction contrary to that of the motion, and the disc is revolved in the direction of the motion.
An increased or diminished number of figures will respectively result in an increased or diminished apparent speed of the object.
For further information on the subject, the reader is referred to the
ZOOPRAXISCOPE.
ZOOPRAXISCOPE.
Origin of the Author's Investigations—Diagram of the Studio at the University of Pennsylvania where the Investigation was conducted—Batteries of Cameras, Electro-exposers, Contact-motor, Chronograph, and other apparatus used for photographing consecutive phases of animal movements—Method of obtaining successive 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 walking; also of the Ox, Elk, Goat, Buffalo, and other cloven-footed animals; the Lion, Elephant, Camel, Dog, and other soft-footed animals; of the Sloth while suspended by its claws, and of the Child while crawling on the ground; of man walking erect—The Normal Method of Locomotion by all animals essentially the same—The Quadrupedal Walk as interpreted by Prehistoric Man, by the Egyptians, Assyrians, Phœnicians, Etruscans, Greeks, Romans, Byzantines, and by eminent artists of mediæval and of modern times—The Statue of Marcus Aurelius the great source of modern errors; Marcus Aurelius in London, Edinburgh, Glasgow, Dublin, Paris, Berlin, Amsterdam, New York, Boston, and many other cities—Albert Durer, Verrocchio, Meissonier, Paul Delaroche, Landseer, Rosa Bonheur, Elizabeth Thompson Butler, &c.—Other Quadrupedal movements, the Amble, Rack, Trot and Canter—Twelve phases in the Gallop of a Horse—Origin of the modern representation of the Gallop—Gallop as depicted by the Hittites, North American Indians, Egyptians, Assyrians, Greeks, the mediæval artists—The modern conventional gallop; evidences of its absurdity; acknowledgment by the Artist of the necessity of reformation—Leap of the Horse, Kick of the Mule, &c., all illustrated by photographs the size of life, from nature, and comparisons made with the interpretation of the same movements by artists of pre-historic, ancient, mediæval and modern times—Demonstration of the action of the primary feathers in the wing of a Bird while Flying, and a solution of the complex problem of Soaring.
After the various methods of locomotion have been demonstrated by analysis, they will be represented synthetically by the Zoopraxiscope.
Athlete, Horse-back Somersault1.Athlete, Horse-back Somersault.
"On Monday last, in the theatre of theRoyal Institution, a select and representative audience assembled to witness a series of the most interesting demonstrations of Animal Locomotion given by Mr. Muybridge.
"The Prince and Princess of Wales, Princess Victoria, Louise, and Maud, and the Duke of Edinburgh honored the occasion by their presence; likewise did I note among the brilliant company Earl Stanhope, Sir Frederick Leighton, P.R.A.; Professors Huxley, Gladstone, and Tyndall; and last, not least, Lord Tennyson, poet laureate.
Athletes Boxing2.Athletes Boxing.
"Mr. Muybridge exhibited a large number of photographs of horses galloping, leaping, etc.... By the aid of an astonishing apparatus called aZoopraxiscope, which may be briefly described as a magic lantern run mad (with method in the madness), the animals walked, cantered, ambled, galloped, and leaped over hurdles in a perfectly natural and lifelike manner. I am afraid that, had Muybridge exhibited hisZoopraxiscopethree hundred years ago, he would have been burned as a wizard.... After the horses came dogs, deer, and wild bulls. Finally man appeared (in instantaneous photography) on the scene, and ran, leaped, and turned back somersaults to admiration."—George Augustus SalainIllustrated London News.
Athletes Running3.Athletes Running.
"Both scientific and artistic circles in London are at present greatly interested in the triumphs of Mr. Eadweard Muybridge in photographing the successive phases of animal movements. Our leading biologists and artists have at once perceived and acknowledged the vast importance of the results of his work."—The Times, London.
Athlete, Running High Jump5.Athlete, Running High Jump.
"The Archbishop of York occupied the chair.... His Grace congratulated the crowded and distinguished audience on the opportunity afforded them of hearing Mr. Muybridge, and said that to everybody who felt an interest in the phenomena of motion, the magnificent results of the investigation carried on by Mr. Muybridge and the University of Pennsylvania were wonderfully instructive."—York Herald.
"His audiences have been drawn from the very first ranks of art, science, and fashion."—British Journal of Photography.
Athlete, Standing Long Jump6.Athlete, Standing Long Jump.
"These demonstrations are marvellously complete, ... exceedingly abundant and rich in suggestion and instruction, and appeal to almost every class or condition of humanity."—Saturday Review, London.
"Mr. Muybridge delighted his audience with his wonderful photographs."—The Times, London.
"... Last night Mr. Muybridge gave his final lecture in Newcastle on 'The Science of Animal Locomotion,' with the whole of the wonderful illustrations; the Art Gallery being again crowded to excess."—Newcastle Chronicle.
Athletes. Base Ball; Batting11.Athletes. Base Ball; Batting.
"A photographic achievement which seemed to me at the time scarce credible, and which I was presently assured by one of our ablest English photographers was absolutely outside the bounds of possibility."—Professor R. A. Proctorin theGentleman's Magazine.
"At the conversazione of the Royal Society much interest was excited by Mr. Eadweard Muybridge's lecture. TheZoopraxiscopeafforded the spectator an opportunity of studying by synthesis, the facts of motion which are also demonstrated by analysis."—Illustrated London News.
Boys Playing Leap-frog14.Boys Playing Leap-frog.
"A really marvellous series of plates."—Nature, London.
"Artistic people are all talking about Mr. Muybridge, who has come hither with that rare desideratum—something new."—LondonCorrespondence,Philadelphia Times.
"It is impossible to do justice in this short time to the extraordinary exhibition given by Mr. Muybridge at the Institute of Technology.... The interest they excite in the mind of the spectator is indescribable."—Sunday Gazette, Boston.
Children Running16.Children Running.
"The photographs have solved many complicated questions as to animal locomotion."—Art Journal, London.
"The effect was weird, yet fascinating. Plaudit followed plaudit. A better pleased assemblage of people it would be difficult to find."—Boston Journal.
"... Mr. Muybridge then gave his famous lecture and demonstration on Animal Locomotion. The hall (St. James') was crowded, and many were unable to obtain seats."—Report of the Photographic Convention,British Journal of Photography.
Elephant Ambling17.Elephant Ambling.
"A demonstration that vividly interests all the world."—L'Illustration, Paris.
"Many of these pictures have great—indeed, astonishing—beauty. The interest which they present from the scientific point of view is three-fold:—(a) They are important as examples of a very nearly perfect method of investigation by photographic and electrical appliances. (b) They have also a great value on account of the actual facts of natural history and physiology which they record. (c) They have, thirdly, a quite distinct, and perhaps their most definite, interest in their relation to psychology."—Prof. E. Ray Lankester, F. R. S., inNature.
Lion Walking18.Lion Walking.
"Mr. Meissonier's critical guests were evidently sceptical as to the accuracy of many of the positions; but when the photographs were turned rapidly, and made to pass before the lantern, their truthfulness was demonstrated most successfully."—Standard, London.
"Meissonier, devoting himself to his friends, evidently cared little for personal compliments; he was anxious for the well-deserved distinction of hisprotégéMuybridge.... 'C'est merveilleusement arrangé!' said Alexandre Dumas. 'C'est que la naturecomposecrânement bien!' replied Meissonier."—Le Temps, Paris.
Egyptian Camel Racking20.Egyptian Camel Racking.
"The sensation of the day, and the topic of popular conversation."—Boston Daily Advertiser.
"The rapid movements by different animals were most interesting: and hurdle-racing by horses—the very whipping process being visible—brought down the house."—Boston Herald.
"On revolving the instrument, the figures that have been derided by so many as impossible absurdities, started into life, and such a perfect representation of a racehorse at full speed as was never before witnessed was immediately visible."—The Field, London.
Baboon Walking21.Baboon Walking.
"Mr. Muybridge showed that many of our best artists have been in the habit of depicting animals in positions which they never assume in nature."—Chambers' Edinburgh Journal.
"The large school-room (Clifton College) was crowded. The head master presided. Loud applause and frequent laughter greeted the life-sized photographs from nature, which by a rapid revolution of theZoopraxiscope, showed among other actions, the ambling of an elephant, the gallop of a race-horse, the somersault of a gymnast and the flight of a bird."—Bristol Mercury.
Kangaroo Jumping22.Kangaroo Jumping.
"The lecture theatre of theRoyal Academy of Artswas filled to overflowing."—Athenæum, London.
"The Royal Dublin Society's Theatre was filled to its utmost capacity yesterday afternoon, when Mr. Muybridge resumed his course of Lectures. The demonstration is simply marvellous."—Daily Express, Dublin.
"The result of years of labor, and of large expenditure of money is at last laid before the public in this magnificent work, and the result is one of which Mr. Muybridge and the University of Pennsylvania may well be proud."—Evening Post, New York.
Buffalo Galloping23.Buffalo Galloping.
"A Lecture of an exceptionally interesting character."—Nottingham Guardian.
"There was a crowded attendance. Throughout the lecture Mr. Muybridge retained the close interest of his audience, and drew from them frequent and warm applause."—The Scotsman, Edinburgh.
"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 land, as in the case of Mr. Muybridge's lectures."—Olive Loganin theMorning Call, San Francisco.
Elk Galloping24.Elk Galloping.
"Mr. Muybridge illustrated his lecture with a series of most valuable photographs, as well as that most fascinating of scientific toys—theZoopraxiscope."—Magazine of Art, London.
"His labors attracted considerable attention in the world of science, while among artists and art critics a pretty controversy set in on the subject of the horse and his representation in art, which is likely to be revived and extended to other fields.... With Mr. Muybridge, 'Instantaneous Photography' has acquired a new significance, ..."—Saturday Review, London.
Monkeys Climbing a Cocoa Palm25.Monkeys Climbing a Cocoa Palm.
"No parallel in the history of photography."—Photographic Times, New York.
"An exhibition which Raphael, Tintoretto, Michael Angelo, and other great masters of the Renaissance would have travelled all over Europe to see."—Evening Transcript, Boston.
"The audience was astonished and delighted at the marvellous demonstrations of Animal Locomotion that were brought before them.... The most remarkable feature of the British Association meeting this year."—Newcastle Journal.
Greyhound Galloping28.Greyhound Galloping.
"The effects of theZoopraxiscopemade up one of the most unique and instructive entertainments imaginable."—Boston Daily Globe.
"A more curious, entertaining, and suggestive exhibition it has not been our good fortune for a long time to attend."—Sacramento Record-Union.
"Everybody has heard something of the wonderful success which Mr. Muybridge has achieved; and in no country in the world is greater interest felt in his work, particularly as regards horses, than in England."—Engineering, London.
Mule, Bucking and Kicking29.Mule, Bucking and Kicking.
"Simply marvels of the photographer's art."—Mercury, Leeds.
"Not the least instructive part of the Lecture was the contrast between the positions of animals as shown in ancient and modern art, with their true positions as shown by themselves in the camera."—New York Tribune.
"Professor Marey invited to his residence a large number of the most eminent men in Europe for the purpose of meeting Mr. Muybridge, and witnessing an exhibition that should be placed before the whole Parisian public."—Le Globe, Paris.
Pigeons Flying32.Pigeons Flying.
"The art critic and the connoisseur will find a study of Mr. Muybridge's work of inestimable value in aiding them to criticize intelligently."—Pennsylvanian, Philadelphia.
"The applause which greeted these wonderful pictures from the brilliant company was hearty in the extreme; and all predicted a new era was open to art, and new resources made available for the use of artists."—Galignani's Messenger, Paris.
"Of immense interest and value."—Lippincott's Magazine, Philadelphia.
Grecian Dancing Girls34.Grecian Dancing Girls.
"TheZoopraxiscopeis the latest, most unique, and instructive form of amusement possible."—Commercial Gazette, Cincinnati.
"His work at once attracted the attention of the world."—Scientific American, New York.
"Of much interest and value, as well as a source of great amusement."—Observer, London.
"The realism of the motions of the various animals was intense, and the audience was very enthusiastic."—Boston Post.
Horse Trotting39.Horse Trotting(fast).
"The Lecturer proceeded to show enlarged photographs of various animals in motion, as the horse, dog, lion, mule, cat, etc.... These were followed by some very striking pictures of the flight of birds, which from a scientific standpoint were by far the most interesting and valuable of the photographs shown during the evening."—Lancet, London.
"Of extreme interest, not only to the artists and scientists, but to the greater part of his audience, who were neither the one or the other."—Birmingham Daily Gazette.
Horse Cantering41.Horse Cantering.
"A host of well-known scientists and artists are greatly interested in this remarkable work."—Pall Mall Gazette.
"The lecture on Tuesday night more than fulfilled the expectations which the audience had formed of Mr. Muybridge's researches."—Belfast News Letter.
"Mr. Muybridge might well be proud of the reception accorded him by his distinguished audience; it would have been difficult to add to theéclatof his appearance, and his lecture was welcomed by a warmth as hearty as it was spontaneous."—The Photographic News, London.
Horse Galloping42.Horse Galloping.
"The illustrations are truly wonderful, and the rapid changing positions were most instructive."—Nottingham Express.
"The concert room was crowded.... A vote of thanks to the Lecturer was proposed by his Grace the Archbishop."—Yorkshire Chronicle.
"A very brilliant audience was assembled at the Royal Institution.... The photographs properly studied should be most valuable in affording truer and more exact data for the painter to base his work upon...."—The Builder, London.
Horse Jumping43.Horse Jumping.
"A very important subject to all those interested in art."—Belfast News Letter.
"It is now nine years since the photographs of Mr. Eadweard Muybridge surprised the world by challenging all received conceptions of animal motion."—Century Magazine, New York.
"The interest excited by the novelty, both of the demonstrations and the results, was so great, that Mr. Muybridge has been invited by the Photographic Society of Ireland to repeat them to-night in a public lecture."—The Freeman's Journal, Dublin.
Horse Hauling44.Horse Hauling.
"The audience filled the large hall, and by their frequent and hearty applause, expressed their appreciation of the lecture."—Irish Times, Dublin.
"A very large audience again assembled in the Town Hall last evening, on the occasion of the second Lecture by Mr. Muybridge. The Mayor, who presided, referred to the first Lecture as perhaps the most unique ever delivered in Birmingham."—Birmingham Daily Gazette.
"The attendance was exceedingly large, and the Lecture and admirable illustrations were loudly applauded."—The Irish Times, Dublin.
Columbian Exposition Horse Race, Galloping45.Columbian Exposition Horse Race, Galloping.
"There was a very large attendance, and seldom have we seen so much genuine admiration and enthusiasm displayed as were evoked by Mr. Muybridge's illustrations, which were really wonderful."—The Daily Express, Dublin.
"There was a crowded audience, and the Lecture, which was listened to with the greatest interest, was warmly applauded."—The Freeman's Journal, Dublin.
"No description can do justice to the extent and variety of the subjects presented in this thorough study of animal movements."—Ledger, Philadelphia.