nd of
the series of visions. It is morning in Mrs. Howe's room. She rises. She
is filled with wonder to find the poem on her table.

Written to the rousing glory-tune of John Brown's Body the song goes over
the North like wildfire. The far-off home of the widow is shown. She and
the boy read the famous chant in the morning news column. She takes the
old sword from the wall. She gives it to her son and sends him to enlist
with her blessing. In the next picture Lincoln and Mrs. Howe are looking
out of the window where was once the idle recruiting tent. A new army is
pouring by, singing the words that have rallied the nation. Ritualistic
birth and death have been discussed. This film might be said to
illustrate ritualistic birth, death, and resurrection.

The writer has seen hundreds of productions since this one. He has
described it from memory. It came out in a time when the American people
paid no attention to the producer or the cast. It may have many technical
crudities by present-day standards. But the root of the matter is there.
And Springfield knew it. It was brought back to our town many times. It
was popular in both the fashionable picture show houses and the cheapest,
dirtiest hole in the town. It will soon be reissued by the Vitagraph
Company. Every student of American Art should see this film.

The same exultation that went into it, the faculty for commanding the
great spirits of history and making visible the unseen powers of the
air, should be applied to Crowd Pictures which interpret the
non-sectarian prayers of the broad human race.

The pageant of Religious Splendor is the final photoplay form in the
classification which this work seeks to establish. Much of what follows
will be to reenforce the heads of these first discourses. Further comment
on the Religious Photoplay may be found in the eleventh chapter, entitled
"Architecture-in-Motion."

CHAPTER VIII

SCULPTURE-IN-MOTION

The outline is complete. Now to reenforce it. Pictures of Action Intimacy
and Splendor are the foundation colors in the photoplay, as red, blue,
and yellow are the basis of the rainbow. Action Films might be called the
red section; Intimate Motion Pictures, being colder and quieter, might be
called blue; and Splendor Photoplays called yellow, since that is the hue
of pageants and sunshine.

Another way of showing the distinction is to review the types of gesture.
The Action Photoplay deals with generalized pantomim