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THREE-DIMENSIONAL MOTION PICTURES 85 film made by a transversely-moving camera. Helmholtz would have immediately recognized the true significance of this phenomena. Such films serve to discredit the erroneous con cept that spatial vision may be attained only if each eye sees only its proper image, and that two paraxially dif ferent images must be seen separately by two eyes in order to be merged in the brain, These films consist of a series of pictures each one of which, together with the previous or the following one, forms a stereo pair. When projected, these images are seen in succession. Often the effect is startlingly real and truly stereoscopic, as one observes depth and solidity and looks at space rather than a flat screen. Yet, this succession of stereo pictures, as such films really are, is always seen simultaneously with both eyes (or by one-eyed people with a single eye) so that the mysterious merging power of the brain seems to work for images in succession just as well as for separate stereo images seen with different eyes. The reason for this merging process in time lies, of course, in persistence of vision whereby we see the image which just left the screen and the one being projected. As both foveas are always directed at the same center of momentary interest, complete merging of the parts of the picture adjacent to such centers of interest be comes quite easy, again because these are seen only with great haziness anyway, so that no greater confusion need be felt if two separate pictures are mixed around the center of interest. If, now., alternate pictures taken from the right and left are projected, the stereo sensation arises in the same manner but is accompanied by a rapidly rising feeling of fatigue, because the eyes are compelled to center the two foveas on an oscillating center of interest.