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Animated Pictures 333 optimistic, ever dreamed that it would secure such a hold upon the public or would develop into the complex, huge, and far-reaching industry it is to-day. While the British experimenter was toiling in his workshops, a French inventor was labouring to a similar end. Neither knew what the other was doing, and, curious to relate, both succeeded in their re- spective, though common, enterprises about the same time. The French inventor was M. Lumiere. He had similarly acquired a kinetoscope shortly after it made its appearance upon the American market, and he too had been impressed with its disadvantages and limitations. Consequently he strove towards the perfection of ways and means to throw the pictures upon the screen before a large concourse of people. The success achieved in France was quite as pro- nounced as that recorded in this country. It must be remembered, however, that France had been associated with this new art far more intimately than any other country. A distinguished scientist, Monsieur Marey, had realised the possi- bilities of chrono-photography, as it was called, as a scientific instrument for the analysis of motion, having been attracted to this issue by the result of the British worker Muybridge. Marey was forced to use glass plates, the celluloid ribbon being unknown at the time he first embraced the subject, and he constructed many interesting and highly ingenious apparatus to enable him to fulfil the objects he had in view. He even took a series of successive snapshots upon a single glass plate, but the pictures were not separate as in the latest development. They overlapped in some instances, so that the plate contained twenty or