In 1882 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 purpose. M. Meissonier was the first among Artists to acknowledge the value to Art design of the Author's researches; and upon this occasion, alluding to a full knowledge of the details of a subject being necessary for its truthful and satisfactory translation by the Artist, he declared how much his own impression of a horse's motion had been changed after a careful study of its consecutive phases. It is scarcely necessary to point out, in confirmation of M. Meissonier's assertions, the modifications in the expression of animal movements now progressing in the works of the Painter and the Sculptor, or to the fact of their being the result of studious attention to the science of Zoöpraxography. In the same year, during a lecture on "The Science of Animal Locomotion in Its Relation to Design in Art," given at the Royal Institution (see _Proceedings_ of the Royal Institution of Great Britain, March 13, 1882), the author exhibited the results of his experiments at Palo Alto, when he, with the Zoöpraxiscope and an oxy-hydrogen lantern, projected on the wall a synthesis of many of the actions he had photographed. It may not be considered irrelevant if he repeats what he on that occasion said in his analysis of the quadrupedal walk:-- "So far as the camera has revealed, these successive foot fallings are invariable, and _are probably common to all quadrupeds_.... "It is also probable that these photographic investigations--which were executed with wet collodion plates, with exposures not exceeding in some instances the one five-thousandth part of a second--will dispel many popular illusions as to the gaits of a horse, and future and more exhaustive experiments, with the advantages of recent chemical discoveries, will completely unveil all the visible muscular action of men and animals even during their most rapid movements.... "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 appreciated. At some future time the philosopher will find it indispensable for many of his investigations."