be generated. As such, it remains very uncertain if the artist who created the bowl actually intended to create an animation. According to a 4th-century Chinese historical text, the 1st-century BC Chinese mechanical engineer and craftsman Ding Huan created a lamp with a circular band with images of birds and animals that moved "quite naturally" when the heat of the lamp caused the band to rotate. However, it is unclear whether this really created the illusion of motion or whether the account was an interpretation of the spatial movement of the pictures of animals. Possibly the same device was referred to as "umbrella lamp" and mentioned as "a variety of zoetrope" which "may well have originated in China" by historian of Chinese technology Joseph Needham. It had pictures painted on thin panes of paper or mica on the sides of a light cylindrical canopy bearing vanes at the top. When placed over a lamp it would give an impression of movement of animals or men. Needham mentions several other descriptions of figures moving after the lighting of a candle or lamp, but some of these have a semi-fabulous context or can be compared to heat operated carousel toys. It is possible that all these early Chinese examples were actually the same as, or very similar to, the "trotting horse lamp" [走馬燈] known in China since before 1000 AD. This is a lantern which on the inside has cut-out silhouettes or painted figures attached to a shaft with a paper vane impeller on top, rotated by heated air rising from a lamp. The moving silhouettes are projected on the thin paper sides of the lantern. Some versions added extra motion with jointed heads, feet or hands of figures triggered by a transversely connected iron wire. None of these lamps are known to have featured sequential substitution of images depicting motion and thus don't display animation in the way that the zoetrope does. John Bate described a simple device in his 1634 book "The Mysteries of Nature and Art". It consisted of "a light card, with several images set upon it" fastened on the four spokes of a wheel which was turned around by heat inside a glass or horn cylinder, "so that you would think the immages to bee living creatures by their motion". The description seems rather close to a simple four-phase animation device depicted and described in Henry V.