can be studied
out, free from irrelevant issues.

As to _space measured without sound_. Suppose it is a humorous
characterization of comfortable family life, founded on some Dutch Little
Master. The picture measures off its spaces in harmony. The triangle
occupied by the little child's dress is in definite relation to the
triangle occupied by the mother's costume. To these two patterns the
space measured off by the boy's figure is adjusted, and all of them are
as carefully related to the shapes cut out of the background by the
figures. No matter how the characters move about in the photoplay, these
pattern shapes should relate to one another in a definite design. The
exact tone value of each one and their precise nearness or distance to
one another have a deal to do with the final effect.

We go to the photoplay to enjoy right and splendid picture-motions, to
feel a certain thrill when the pieces of kaleidoscope glass slide into
new places. Instead of moving on straight lines, as they do in the
mechanical toy, they progress in strange curves that are part of the very
shapes into which they fall.

Consider: first came the photograph. Then motion was added to the
photograph. We must use this order in our judgment. If it is ever to
evolve into a national art, it must first be good picture, then good
motion.

Belasco's attitude toward the stage has been denounced by the purists
because he makes settings too large a portion of his story-telling, and
transforms his theatre into the paradise of the property-man. But this
very quality of the well spaced setting, if you please, has made his
chance for the world's moving picture anthology. As reproduced by Jesse
K. Lasky the Belasco production is the only type of the old-line drama
that seems really made to be the basis of a moving picture play. Not
always, but as a general rule, Belasco suffers less detriment in the
films than other men. Take, for instance, the Belasco-Lasky production of
The Rose of the Rancho with Bessie Barriscale as the heroine. It has many
highly modelled action-tableaus, and others that come under the
classification of this chapter. When I was attending it not long ago,
here in my home town, the fair companion at my side said that one scene
looked like a painting by Sorolla y Bastida, the Spaniard. It is the
episode where the Rose sends back her servant to inquire the hero's
name. As a matter of fact there were Sorollas and Zuloagas all through
the p