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Animated Pictures 335 ments ushered in the moving-picture era as it is known to-day. These two distinctive names averted all confusion with peep-hole machines whereby only one person at a time could see the pictures. Subsequently, when the Americans produced a similar machine for projecting pictures in motion upon the screen, the apparatus became generically known as the “ Kinema- tograph.” Considerable discussion has arisen as to which of the two spellings is correct. The American is literally accurate, from the Greek root kineo, to move, but the French name is really a generic term or trade-mark, and so is equally correct. Indeed, the French method of spelling is generally upheld as a compliment to French efforts towards founding a new industry, and the contribution of that country to the success of throwing pictures in animation upon a white screen for simultaneous observation by a large audience. Both words, however, are generally considered to be unwieldy, with the result that the simpler and more explanatory American term “ Moving Pictures ” is universally preferred. As might be expected, this descriptive name has been still further condensed into “The Movies,” or “The Pictures,” which has become, from wide application, the accepted modern cognomen for anything and everything connected with animated photography. Robert Paul’s invention in Britain and Lumiere’s apparatus in France were speedily appreciated by the public as a new and novel form of entertainment. In this country it became a recognised item in music- hall entertainments, the re-portrayal of the Derby of 1896 in photographic mime, with all the fidelity and excitement of the famous race and course, setting