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CHRONO-PHOTOGRAPHY. 73 At this point it is difficult to say whether a retro- spective view is necessary or not. If first ideas are to be taken into consideration, then Mr. Edison should have been mentioned earlier, but the first intimation of his work in the domain of the Living Picture did not reach England until the 28th of May, i8gi, when a somewhat meagre account of his Kinetoscope was printed in " The Times," having been received through Dalziel's Agency, while the full description of his invention, filed in the United States 24th August, 1891, was not issued until March 14th, 1893 (No. 493,426), and was never patented in England. The first public exhibition of this instrument seems to have taken place at the Brooklyn Institute on May the gth, 1893, the first machines in England being shown in Oxford Street in October, 1894. It certainly appears as though Edison might have established a claim to be considered the father of the modern Living Picture (so many forefathers have been mentioned, it is difficult to trace the exact pedigree) had he not been deluded and delayed by affection for his pet child, the Phonograph. It was apparently in 1887 that he first conceived the idea of coupling the reproduction of a past event with the repetition of sounds recorded at the same time. He appears to have spent much time in a fruitless attempt to secure his negatives in a manner analogous to the reproduction of speech on the phonograph—that is to say, in a spiral line round a cylinder similar in every respect to that of the sound-recording instrument which was put into action at the same time. And here it may be well to explain the nomenclature of Mr. Edison's various productions. A Kinetograph takes the separate pictures, the Kinetoscope recombines them into motion. The prefix of Phono- denotes that a Phonograph is coupled with the instrument, consequently a Phono- kinetograph records both events and sounds, and the