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72 LIVING PICTURES. free to revolve, took up the film passed on to it. To render the film periodically stationary, a rounded bar was pressed against it at proper intervals of time by means of a star-cam, thus gripping it tightly and pre- venting its motion. Inasmuch, however, as the motive- roller was continually dragging at the film, the latter would have been torn were it not that the film passed over a weak spring. This straightened out under the pressure exerted by the film, thus shortening its path and feeding the roller with sufficient film to last until the grip was taken off, when the spring returned to its former position and assisted to draw the next section in front of the exposing aperture. M. Marey did not succeed in obtaining very long series of exposures with this apparatus. About forty pictures were taken in whatever period of time seemed desirable, and he complained, in an Recount given by him of his work, that bands of film longer than four metres were not obtainable. Still, had he confined his pictures to moderate dimensions, he would doubtless have been more successful from the living picture point of view ; the fact of procuring negatives nine centimetres (about 3^ in.) square was quite sufficient to fill up his band long before an extensive series was obtained. But as Director of the Physiological Station his work lay mainly in the analysis of motion, and the only use made of his early serial pictures was to recombine a phase of motion by means of a modified Zoetrope in order that the real action of one second might be spread out in point of time to facilitate leisurely inspection, and for this purpose it was necessary to remount the positives at proper intervals, the spacing on the negative band being slightly irregular. About the same time M, Marey constructed a somewhat similar instrument for use with the microscope in order to record the various motions of the lower forms of animal life.