The Einhorn (Unicorn) Press

 
The oldest motion picture projector was probably invented in antiquity, but as for modern times, the credit goes to W. E. Lincoln, who patented one on April 23, 1867.  The contrivance was a mere toy, employing no light and being a little machine, which, when revolved, gave figures, printed in different positions, the mere semblance of motion.

The second oldest of recent memory was an “optical instrument” patented by O. B. Brown on August 10, 1869.  This was really the first American motion-picture projection machine. There was a sort of disk on moving-shutter movement, which, on revolving, gave projected objects the appearance of animation.  Of course, there were no films in those days so the inventor used translucent glass to get the results.  This was the real seed for our modern machine.

An interesting “Fragment of Science,” published in the July 1898 issue of Appleton’s Popular Science Monthly, described the state of motion picture arts in 1870, by quoting from an interesting letter from Henry R. Heyl, which was also published in the Journal of the Franklin Institute for April of 1898.  It read:

“Among the earliest public exhibitions of photographs taken from living subjects in motion projected by the lantern upon a screen was that given at an entertainment held in the Academy of Music in Philadelphia, on the evening of February 5, 1870, and a repetition of the exhibition was made before the Franklin Institute at its next following monthly meeting, on March 16th, by the writer.  The printed programme of this event contains the following allusion to this feature of the entertainment:

‘THE PHASMATHROPE. This is a recent scientific invention, designed to give various objects and figure upon the screen the most . . . lifelike movements. The effects are similar to those produced in the familiar toy called the zoetrope, where men are seen walking, running, and performing various feats in the most perfect imitation of real life.  This instrument is destined to become a most invaluable auxiliary to the appliances for illustration, and we have the pleasure of having the first opportunity of presenting its merits to our audience.’

 

 

“The subjects exhibited embraced waltzing figures and acrobats, shown upon the screen in life size, while the photographic images were easily three fourths of an inch in height.  At that day flexible films were not known in photography, nor had the art of rapid succession picture-making been developed; therefore, it was necessary to limit the views of subjects to those that could be taken by time exposure upon wet plates, which photos were afterward reproduced as positives on very thin glass plates, in order that they might be light in weight.  The waltzing figures, taken in six positions, corresponding to the six steps to complete a turn, were duplicated as often as necessary to fill the eighteen picture spaces of the instrument which was used in connection with the lantern to project the images upon the screen.  The piece of mechanism, then named the ‘phasmatrope,’ consisted of a skeleton wheel having nine radial divisions, into which could be inserted the picture, in such relative position that, as the wheel was intermittently revolved, each picture would register exactly with the position just left by the preceding one.  The intermittent movement of the wheel was controlled by a ratchet and pawl mechanism operated by a reciprocating bar moved up and down by the hand.  It will be apparent that the figures could be moved in rapid succession or quite slowly, or the wheel could be stopped at any point to complete the evolution.

 

 

In the exhibition at the Academy of Music above alluded to, the movement of the figures was made to correspond to the time of the waltz played by an orchestra, and when the acrobat performers were shown, a more rapid motion was given, and a full stop made when a somersault was completed.  A shutter was then a necessary part of the apparatus to cut off the light rays during the time the pictures were changing places.  This was accomplished by a vibrating shutter placed back of the picture wheel, that was operated by the same draw-bar that moved the wheel, only the shutter movement was so timed that it moved first and covered the picture before the latter moved, and completed the movement after the next picture was in place.  This movement reduced to great extent the flickering, and gave very natural and lifelike representations of the moving figures.”

 

 

Some of the flickering may have been due to poor manual management of the electric carbon arc light, if that was what was used.  It was certainly available, and used in lecture halls, lighthouses, and elsewhere at the time.