ing an emotional part in the play, or, in other words, to
utilize lighting in obtaining the proper mood for the action of the
play. Color and purely pictorial effect are the dominant notes of some
of them. All of these modern stage-artists are abandoning the
intricately realistic setting, and, as a consequence, light is enjoying
a greater opportunity. In the more common and shallow theatrical
production, lighting and color effects have many times saved the day,
and, although these effects are not of the deeper emotional type, they
may add a spectacular beauty which brings applause where the singing is
mediocre and the comedy isn't comedy. The potentiality of lighting
effects for the stage has been barely drawn upon, but as the
expressiveness of light is more and more utilized on the stage, the art
of mobile light will be advanced just so much more. Light, color, and
darkness have many emotional suggestions which are easily understood and
utilized, but the blending of mobile light with the action is difficult
because its language is only faintly understood.

It is futile to attempt to describe a future composition of mobile
light. Certainly there is an extensive variety of possibilities. A
sunset may be compressed into minutes or an opalescent sky may be a
motif. Varying intensities of a single hue or of allied hues may serve
as a gentle melody. Realistic effects may be introduced. The
expressiveness of individual colors may be taken as a basis for
constructing the various motifs. These may be woven into melody in which
rhythm both in time and in intensity may be introduced. Action may be
easily suggested and the number of different colors, in a broad sense,
which are visible is comparable to the audible tones. Shading is as
easily accomplished as in music and the development of this art need not
be inhibited by a lack of mechanical devices and light-sources. The
tools will be forthcoming if the conscientious artist requests them.

Whatever the future of the art of mobile light may be, it is certain
that the utilization of the expressiveness of light has barely begun. It
may be that light-music must pass through the "ragtime" stage of
fireworks and musical-revue color-effects. If so, it is gratifying to
know that it is on its way. Certainly it has already served on a higher
level in some of the artistic lighting effects in which mobility has
featured to some extent.

If the art does not develop rapidly it will be merel