nute
examination any error or want of grace in his action, in order to
avoid it. An unexpected picture is obtained when a man or woman is
thus "biographed" whilst walking rapidly, and suddenly turns to the
right or left. A fraction of a second occurs when the toes of the two
feet are directed towards one another (that is to say, are "turned
in"), as one of the legs swings round in the break-off to right or
left. This instantaneous phase is very awkward and ugly in appearance.
It is never pictured by artists, although regularly occurring, and
seems to have been as little known before instantaneous photography
was introduced as were most of the phases of the horse's gallop. The
positions assumed when in the air by a high-jump athlete are almost
incredible as revealed by the camera. He appears to be sitting in a
most uncomfortable way on the rope over which he is projecting
himself.

A very fine attitude is fixed for the artist in one of Muybridge's
instantaneous series of the "bowler"--the cricket "bowler." The
up-lifted right arm, the curve outwards of the whole figure on the
right side, and the free hang of the right leg make a most effective
pose for a sculptor to reproduce. Among the most remarkable results
obtained in Muybridge's series are the stages of the growth or
development of strong "expression" in the face. The anxiety in the
face of the baseball batsman as he awaits the ball is painful; as he
hits at the ball his expression is one of savage ferocity, and in a
fraction of a second this gives place to a dawning smile, which as we
pass along two or three later "_instantanees_" develops into a broad
grin of satisfaction. Another genuine study of expression both of face
and gesture and movement is given in the series where a pailful of
cold water is unexpectedly poured over the back of a bather seated in
a sitz bath--astonishment, dismay, anger, eagerness to escape, and the
reaction to shock are all clearly shown. Darwin's studies on "the
expression of the emotions" would have been greatly assisted by such
analysis, and the subject might even now be developed by the use of
serial instantaneous records obtained by photography. It may be useful
to those interested in this subject to know that copies of
Muybridge's large series of instantaneous photographs[3] of animal and
human subjects in movement are preserved both in the library of the
Royal Academy of Arts in London and in the Radcliffe Library at
Oxford. I m