The attitudes of animals in motion, illustrated with the zoopraxiscopeMuybridge, Eadweard
Science
The attitudes of animals in motion, illustrated with the zoopraxiscope
Muybridge, Eadweard
Animal locomotion
Produced by Mark C. Orton, Alex Gam and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
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Royal Institution of Great Britain.
EXTRA EVENING MEETING,
Monday, March 13, 1882.
H.R.H. THE PRINCE OF WALES, K.G. F.R.S. Vice-Patron and
Honorary Member, in the Chair.
EADWEARD MUYBRIDGE, of San Francisco.
_The Attitudes of Animals in Motion, illustrated with the
Zoopraxiscope._
The problem of animal mechanism has engaged the attention of mankind
during the entire period of the world's history.
Job describes the action of the horse; Homer, that of the ox; it engaged
the profound attention of Aristotle, and Borelli devoted a lifetime to
its attempted solution. In every age, and in every country, philosophers
have found it a subject of exhaustless research. Marey, the eminent
French savant of our own day, dissatisfied with the investigations of his
predecessors, and with the object of obtaining more accurate information
than their works afforded him, employed a system of flexible tubes,
connected at one end with elastic air-chambers, which were attached to
the shoes of a horse; and at the other end with some mechanism, held in
the hand of the animal's rider. The alternate compression and expansion
of the air in the chambers caused pencils to record upon a revolving
cylinder the successive or simultaneous action of each foot, as it
correspondingly rested upon or was raised from the ground. By this
original and ingenious method, much interesting and valuable information
was obtained, and new light thrown upon movements until then but
imperfectly understood.
While the philosopher was exhausting his endeavours to expound the laws
that control, and the elements that effect the movements associated with
animal life, the artist, with a few exceptions, seems to have been
content with the observations of his earliest predecessors in design, and
to have accepted as authentic without further inquiry, the pictorial and
sculptural representations of moving animals bequeathed from the remote
ages of tradition.
When the body of an animal is being carried forward with uniform motion,
the limbs in their relations to it have alternately a progressive and a
retrogressive action, their various portions accelerating in comparative
speed and repose as they extend downwards to the feet, which are
subjected to successive changes from a condition of absolute rest, to a
varying increased velocity in comparison with that of the body.
Public-domain text, read in full here on John Shaqi.
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