In the _Century Magazine_ for June, 1894, there was an article by Dickson and Antonia Dickson on “Edison’s Invention of the Kinetophonograph.” Edison wrote a forward which said in part that he had the idea that it was possible to devise a sight and sound combination apparatus in 1887. “This idea, the germ of which came from the little toy called the Zoetrope (i.e., the Plateau-Stampfer magic disk) and the work by Muybridge, Marie (i.e., Marey) and others has now been accomplished, so that every change of facial expression can be recorded and reproduced life-size. The Kinetoscope is only a small model illustrating the present stage of progress but with each succeeding month new possibilities are brought into view.” Edison then prophesied that with his work and that of others “grand opera can be given at the Metropolitan Opera House at New York without any material change from the original, and with artists and musicians long since dead.” On June 16, 1894, the _Electrical World_ reported on “The Kinetophonograph” and on the nickel-in-the-slot peep-show models on display at the Broadway store. The review was not enthusiastic even then. It concluded: “As to the future of this most ingenious and interesting bit of mechanism, time only will demonstrate whether it is to be a new scientific toy or an invention of real practical value.” Time did demonstrate all that and more. The reaction to Edison’s Kinetograph in Paris, showplace of the world, was much more enthusiastic than in New York. In _La Nature_ the wonderful mechanical perfection of the film peep-show apparatus was praised with special note given to the fact that it was driven by electricity. The Werner firm had opened a demonstration of the Kinetoscope at 20 Boulevard Poissonnière, Paris, and the machines were in use all day and every evening. The Kinetoscope also went on display in Oxford Street, London, in October, 1894, brought there from New York by two Greeks, George Georgiades and George Trajedis. From the showings of the Edison peep-show in New York, Paris, and London, there arose an increased interest in the motion picture. Out of these demonstrations grew projection machines which at last brought the shadow art-science before the world in full development. _XVI_ FIRST STEPS _In the United States, England, France and Germany efforts are made to project motion pictures on the screen--Half successes, whole failures, bitter disappointments and yet--perennial hope to harness magic shadows._