The mode in which I effect this is described in the accompanying provisional specifications, which may be briefly summed up thus: Instantaneous photographs of bodies or groups of bodies in motion are taken at equal short intervals--say quarter or half seconds, the exposure of the plate occupying not more than an eighth of a second. After fixing, the prints from these plates are taken one below the other on a long strip of ribbon or paper. The strip is wound from one cylinder to another so as to cause the several photographs to pass before the eye successively at the same intervals of time as those at which they were taken. Each picture as is passes the eye is instantaneously lighted up by an electric spark. Thus the picture is made to appear stationary while the people or things in it appear to move as in nature. I need not enter more into detail beyond saying that if the intervals between the presentation of the successive pictures are found to be too short the gaps can be filled up by duplicates or triplicates of each succeeding print. This will not perceptibly alter the general effect. I think it will be admitted that by this means a drama acted by daylight or magnesium light may be recorded and reacted on the screen or sheet of a magic lantern, and with the assistance of the phonograph the dialogues may be repeated in the very voices of the actors. When this is actually accomplished the photography of colors will alone be wanting to render the representation absolutely complete and for this we shall not, I trust, have long to wait. It is not known whether or not Edison read Donisthorpe’s suggestion. At any rate, it was ten years, not till 1887, that Edison decided to see about trying to combine the phonograph, greatly improved by this time, and a motion picture apparatus. After completing improvements on the phonograph in 1886 and awaiting the opening of new laboratory quarters, Edison found himself with some idle moments. Sometime, in the middle or late part of 1887 Edison started work on what was to become his Kinetograph, the first motion picture camera that could photograph a few seconds of action at a time, and the Kinetoscope, the popular peep-show film device which brought the magic shadow art before the modern public and opened the way for the establishment of the motion picture industry. Edison was assisted in his motion picture experiments by William Kennedy Laurie Dickson, a man who had about the same relation to Edison as George Demeny had with Marey in France. In keeping with the Demeny tradition, Dickson eventually broke with his master and engaged in controversy over priority of ideas and actual contributions to various developments. But Edison and Marey both supplied the ideas and directed the work, while Dickson and Demeny were responsible for carrying out the experiments. Both contributed importantly.