to pass before
another and thus showed the railway train on one slide moving over the
bridge on the other glass plate. They were popular half a century ago.
On the other hand if the essential feature of the moving pictures is the
combination of various views into one connected impression, we must look
back to the days of the phenakistoscope which had scientific interest
only; it is more than eighty years since it was invented. In America,
which in most recent times has become the classical land of the moving
picture production, the history may be said to begin with the days of
the Chicago Exposition, 1893, when Edison exhibited his kinetoscope. The
visitor dropped his nickel into a slot, the little motor started, and
for half a minute he saw through the magnifying glass a girl dancing or
some street boys fighting. Less than a quarter of a century later twenty
thousand theaters for moving pictures are open daily in the United
States and the millions get for their nickel long hours of enjoyment. In
Edison's small box into which only one at a time could peep through the
hole, nothing but a few trite scenes were exhibited. In those twenty
thousand theaters which grew from it all human passions and emotions
find their stage, and whatever history reports or science demonstrates
or imagination invents comes to life on the screen of the picture
palace.

Yet this development from Edison's half-minute show to the "Birth of a
Nation" did not proceed on American soil. That slot box, after all, had
little chance for popular success. The decisive step was taken when
pictures of the Edison type were for the first time thrown on a screen
and thus made visible to a large audience. That step was taken 1895 in
London. The moving picture theater certainly began in England. But there
was one source of the stream springing up in America, which long
preceded Edison: the photographic efforts of the Englishman Muybridge,
who made his experiments in California as early as 1872. His aim was to
have photographs of various phases of a continuous movement, for
instance of the different positions which a trotting horse is passing
through. His purpose was the analysis of the movement into its component
parts, not the synthesis of a moving picture from such parts. Yet it is
evident that this too was a necessary step which made the later
triumphs possible.

If we combine the scientific and the artistic efforts of the new and the
old world, we may tell