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8 THREE-DIMENSIONAL MOTION PICTURES ing this fact Dove obviously foreshadowed the work of Ducos Du Hauron." "D'Al-media, In his communi cation 11858) to the French Academy of Science, de scribed how he placed In the source of the luminous rays two colored glasses (red and green); the observer views the projection through glasses of similar colors, the fusion being seen as a black and white com bination In stereoscopic relief." Theodore Brown Is given credit for the following systems: 1. Placing the subject on a ratable stand revolved synchronously with the working of the taking camera; 2. Causing the camera to circumscribe the object, by making the former travel round the subject at a speed regulated by the working of the camera; 3. Using the camera on a special tripod head, designed to give an oscillation to the camera while in operation; and 4. Taking the subject in a continuous pano- graphic direction at a speed according to the move ment of the vehicle carrying the camra. A flurry in the production of third dimension pictures took place in the early twenties. Fairall presented the stereoscopic picture "The Power of Love" at the Ambassador Theater in Los Angeles, California. The Film Daily of September 30, 1922, announced "A preview of the Stereoscopic motion picture, 'The Power n of Love,' to be given at the Ambassador Hotel Theater, Los Angeles, Gal." "The film received con tinuous applause.'' Fairall projects his pictures by means of two projectors operating in unison with scenes represent ing one point of view being colored red in the clear portions and the other set colored blue-green. Quoting the Film Daily again: "The Fairall camera has two lenses the distance apart of the humn eyes. The two films are superimposed in projection. In viewing the films, spectacles are worn with red glass