It then invites visitors, spectators like him, to enter into the permanent exhibition, where they will embark on a journey through 400 years of the history of images and relive the emotions that our ancestors experienced in viewing them.

The first section, on the third floor, is dedicated to Chinese shadow theatre puppets, an art with ancestral origins: for the first time light, darkness and the screen were used to create the spectacle.

Next, in the interior of a room without light the camera obscura allows us to see the reflection of the exterior images of the world, and understand why this phenomenon is the basis on which the technique of photography and cinema is founded.

Two hundred years before the invention of cinema, the magic lantern converted the projection of images into a form of mass entertainment for the first time, providing information and serving as an educational tool.

Now on the second floor, the exhibition continues with instruments based on the principle of the persistence of vision that began to generate the illusion of moving Images, even though they were simply drawings that were animated through repetitive movements After this, we enter into the section dedicated to the definitive path towards cinema as we know it, when in the twenty years preceding its invention scientists the world over began an increasingly accelerated race towards the discovery of the projection of photographic images in movement.

On that day, in the Salon Indien, found in the cellar of the Grand Café in Paris, the Lumière brothers offe¬red the first paid public projection with an instrument of their own invention the cinematograph.

The section also looks at the rapid spread of cinema throughout the world, its technological evolution, how it began to create its own language until becoming a new art and a new industry, and, finally, how starting with the 1930s it would be faced with a competitor: television.

For this reason, various audiovisual and theatrical projections are set into the visit (giving us an idea of what early visual spectacles were like), along with replicas of the objects shown so that visitors can handle them, understand how they once worked and see the images they would produce.

All told this ensures that the exhibition, through the themes it deals with and the way it is presented, is ideal for all kinds of visitors, regardless of age, educational level, nationality, cultural background, language or interest in cinema.