In 1850 Wheatstone was in Paris and showed his improved Stereoscope to Abbé Moigno, to Soleil and his son-in-law, Duboscq, who were commercial instrument makers, and to members of the French Institute. Its value was immediately recognized not only for amusement but for the arts and sciences, especially portraiture and sculpture, Moigno reported in _La Presse_ of December 28, 1850. Duboscq immediately started to make one and used Daguerreotypes in it. Moigno praised Duboscq’s “intelligence, activity, affability, indefatigable ardour.” In 1851 Moigno brought Duboscq to the attention of the Queen by presenting her with a Wheatstone-type Stereoscope which he had made. That was the year Louis Napoleon seized power and was named president for a ten year term. In November, 1852 he proclaimed himself Emperor. Wheatstone also developed a combination of photos and the Plateau disk which was fitted with a cog which made each photo rest momentarily as it was held before the mirror. The same instrument was made in France under the name of Heliocinegraphe. Antoine François Jean Claudet (1797–1867), was a Frenchman who married an English girl and moved to London in 1827. In 1852 he combined the Plateau-Stampfer disk with the Langenheim method of photographs on glass plates. It is claimed that, while Claudet started work ahead of him, Duboscq had satisfactory results first. Claudet’s experiments were successful in May of 1852, about one year after the Langenheim exhibit at the Exposition. In 1853 Claudet became a member of the Royal Society. Claudet, at a meeting of the British Association for the Advancement of Science held at Birmingham in September, 1865, spoke “On Moving Photographic figures, illustrating some phenomena of vision connected with the combination of the stereoscope and the phenakisticope by means of photography.” Claudet noted that from the beginning of photography those acquainted with Plateau’s disk thought that pictures would be more suitable than hand drawings to show the illusions of motion. But they also sought the third dimensional effect. Duboscq’s efforts were not completely successful, according to Claudet who described a machine he had worked out. The illusion of motion was effected by having one eye see one picture and the other eye the next picture. This resulted in a simultaneous motion and solid effect. The spectator was not conscious of the vision being transferred from one eye to another. Claudet’s example was a boxer about to strike and then delivering the blow.