His work on optics, published at Antwerp in 1613, was famous. In it is found for the first time the expression “stereographic projection,” which has survived to the present. This was known from the time of Hipparchus but had not received a permanent name until it was given by d’Aguilon, to whom must go part of the credit for the name of all devices with “stereo” somewhere in the title. D’Aguilon explored at length the subject of after-images. He correctly pointed out that the image physically disappears when the cause is removed (as a camera no longer “sees” after the shutter is closed) but there remains something impressed on the organ of sight, a certain effect on the sense of vision. D’Aguilon was revising his book on optics when he died, in 1617. One edition was published in Antwerp in 1685 with the title _Opticorum Libri Sex_. Perhaps he was on the eve of the great discovery which was to be made in a few years by one of his successors. However, to him goes the credit for the name which was attached for centuries to all kinds of shadow-plays, and is still known today--Stereoscopic. By the first quarter of the 17th century the camera was widely used for the observation of the greatest light and shadow show--the universe with sun, moon and stars. Experiments also had been made, by Porta and others, in the entertainment possibilities of the “dark chamber.” The stage was ready for the man who would bring about projection, as we know it, with the magic lantern. A long step would then be taken towards realizing man’s instinctive ambition to capture and recreate life for entertainment and instructive purposes. _VI_ KIRCHER’S 100th ART _Kircher’s magic lantern projects pictures and the art of screen presentation is born--First screen picture show in Rome, 1646--Kircher’s book_, Ars Magna Lucis et Umbrae, _tells the world how_. In the second quarter of the 17th Century the stage was set for the birth of the magic lantern, progenitor of all cinematographic projectors. The chief actor was a German, a fellow countryman of Kepler and of many other serious scientists in the light and shadow field, but it was in Italy, native land of many arts and showmen, of Leonardo da Vinci and of Porta, that he worked. The man was Athanasius Kircher. The age in which Kircher worked was a difficult period. The Thirty Years War ravaged Europe from 1618 to 1648 and the people suffered more than at any period down to our own. Europe politically was in chaos as after World Wars I and II. Only in literature and science were there signs of hope and promise. The eyes of many thoughtful Europeans turned away from the Old World to the new lands across the sea. [Illustration: Ars Magna Lucis et Umbrae, 1646–1671