pe of a camp-fire is possible in our Jeanne d'Arc.

These pictures, new and old, great and unknown, indicate some of the
standards of judgment and types of vision whereby our conception of the
play is to be evolved.

By what means shall we block it in? Our friend Tintoretto made use of
methods which are here described from one of his biographers, W. Roscoe
Osler: "They have been much enlarged upon in the different biographies as
the means whereby Tintoretto obtained his power. They constituted,
however, his habitual method of determining the effect and general
grouping of his compositions. He moulded with extreme care small models
of his figures in wax and clay. Titian and other painters as well as
Tintoretto employed this method as the means of determining the light and
shade of their design. Afterwards the later stages of their work were
painted from the life. But in Tintoretto's compositions the position and
arrangement of his figures as he began to dwell upon his great
conceptions were such as to render the study from the living model a
matter of great difficulty and at times an impossibility.... He ...
modelled his sculptures ... imparting to his models a far more complete
character than had been customary. These firmly moulded figures,
sometimes draped, sometimes free, he suspended in a box made of wood, or
of cardboard for his smaller work, in whose walls he made an aperture to
admit a lighted candle.... He sits moving the light about amidst his
assemblage of figures. Every aspect of sublimity of light suitable to a
Madonna surrounded with angels, or a heavenly choir, finds its miniature
response among the figures as the light moves.

"This was the method by which, in conjunction with a profound study of
outward nature, sympathy with the beauty of different types of face and
varieties of form, with the many changing hues of the Venetian scene,
with the great laws of color and a knowledge of literature and history,
he was able to shadow forth his great imagery of the intuitional world."

This method of Tintoretto suggests several possible derivatives in the
preparation of motion pictures. Let the painters and sculptors be now
called upon for painting models and sculptural models, while the
architect, already present, supplies the architectural models, all three
giving us visible scenarios to furnish the cardinal motives for the
acting, from which the amateur photoplay company of the university can
begin their i