Magic shadows move in the projector of Musschenbroek, a Dutchman—Quest for real “motion pictures” continues—Abbé Nollet spins a top—Lantern shows in Paris and London become spectacular.
Not long after Kircher’s death his magic lantern projector was in use everywhere in Europe but the apparatus did not do all that was desired. The goal of motion pictures was still around a corner. Pieter van Musschenbroek (1692–1761), a Dutch natural philosopher and mathematician, was the first to successfully simulate motion with the aid of the projector and glass slides.
The effects of motion produced on the screen through the system developed by Musschenbroek were crude but progress was made. There was also further concrete evidence that the primitive urge of the first painter to re-create nature with all its life and movement was still powerful and had not been forgotten.
Previously Zahn, as we have seen, mounted a series of glass slides on a circular disk which could be revolved before the lens of the projector. But there the method really only assured quick changes from one still picture to another. In the very beginning Kircher also had the disk idea and in other models of his lantern arranged the glass slides on a long panel so the successive views could be changed rapidly.
Musschenbroek, working in Holland in the early part of the 18th century, achieved his effect of motion by fitting two panels of slides into the same lantern for simultaneous projection. One slide was stationary and usually depicted the background; the other was mobile and was set in motion by means of a cord. With a skilled manipulator the effects were certainly wonderful—for that period.
The motion magic lantern projector was developed as a hobby by Musschenbroek, who was unaware of its importance until he had a visit in 1736 from the French scientist, or more accurately popularizer of science, Abbé Nollet (1700–1770).
Abbé Nollet corresponded with scientists throughout the world and his salon in Paris was crowded each evening with French and visiting scientists and the hangers-on of the great. While in Holland, Nollet visited Musschenbroek. One evening after a pleasant dinner and much serious conversation on educational and scientific matter, the host, Musschenbroek, proposed a bit of entertainment. He may have told his distinguished French visitor, “I have a surprise for you. I will show you something that is as yet unknown in your wise Paris.” It is certain Abbé Nollet’s curiosity was stirred up and he looked forward with keen anticipation to the demonstration. He was that kind of a person—eager for any new scientific development or application.
Musschenbroek’s show that evening in Holland included, according to Abbé Nollet, magic lantern views of a wind-mill whose arms revolved—wonder of wonders! Also a lady bowing as she walked along the street. And a cavalier removing his hat in courtesy. That would seem to prove that Musschenbroek, the staid scientist, in his idle moments had attempted to create the first “boy-meets-girl” motion picture.
The magic lantern with movement of Musschenbroek’s description was brought back to Paris by Nollet who started its popularization. The system became wide-spread following the publication of a book, Nouvelles Recréations Physiques et Mathématiques, by Abbé Guyot which went through several editions in Paris and was translated and published also in at least two editions in England by W. Hooper, M.D. under the title, Rational Recreations in which the Principles of Numbers and Natural Philosophy are Clearly and Copiously Elucidated, by a Series of Easy, Entertaining, Interesting Experiments. Hooper copied even the plates from the French book of Guyot.
The projections of the magic lantern, it was said, “may be rendered much more amusing, and at the same time more marvelous, by preparing figures to which different natural motions may be given, which everyone may perform according to his own taste; either by movements in the figures themselves, or by painting the subject on two glasses, and passing them at the same time through the groove (of the lantern).” It was noted by Guyot-Hooper that in Musschenbroek’s Philosophical Essays there are many methods of performing all these movements, “by some mechanical contrivances that are not difficult to execute.”