The magic lantern with movement of Musschenbroek’s description was brought back to Paris by Nollet who started its popularization. The system became wide-spread following the publication of a book, _Nouvelles Recréations Physiques et Mathématiques_, by Abbé Guyot which went through several editions in Paris and was translated and published also in at least two editions in England by W. Hooper, M.D. under the title, _Rational Recreations in which the Principles of Numbers and Natural Philosophy are Clearly and Copiously Elucidated, by a Series of Easy, Entertaining, Interesting Experiments_. Hooper copied even the plates from the French book of Guyot. The projections of the magic lantern, it was said, “may be rendered much more amusing, and at the same time more marvelous, by preparing figures to which different natural motions may be given, which everyone may perform according to his own taste; either by movements in the figures themselves, or by painting the subject on two glasses, and passing them at the same time through the groove (of the lantern).” It was noted by Guyot-Hooper that in Musschenbroek’s _Philosophical Essays_ there are many methods of performing all these movements, “by some mechanical contrivances that are not difficult to execute.” An illustration of the Musschenbroek system was given. The subject sought to portray how, “To represent a tempest by the magic lantern.” On one of these glasses you are to paint the appearance of the sea, from the slightest agitation to the most violent commotion. Observe that these representations are not to be distinct, but run into each other, that they may form a natural gradation; remember also, that great part of the effect depends on the perfection of the painting, and the picturesque appearance of the design. On the other glass you are to paint vessels in different forms and dimensions, and in different directions, together with the appearance of clouds in the tempestuous parts. Precise instructions were set down for this first “motion picture” storm effect: You are then to pass the glass representing the sea slowly through the groove, and when you come to that part where the storm begins, you are to move the glass gently up and down, which will give it the appearance of a sea that begins to be agitated; and so increase the motion till you come to the height of the storm. At the same time you are to introduce the other glass with the ships, and moving in like manner, you will have a natural representation of the sea, and of ships in a calm and in a storm. As you draw the glasses slowly back, the tempest will seem to subside, the sky grow clear, and the ships glide gently over the waves. With Musschenbroek the magic shadows began to have real motion and the effect on the audience consequently was much greater. Kircher’s projector was growing up.