iece. The betrothal reception with flying confetti was a satisfying
piece of Spanish splendor. It was space music indeed, space measured
without sound. Incidentally the cast is to be congratulated on its
picturesque acting, especially Miss Barriscale in her impersonation of
the Rose.

It is harder to grasp the other side of the paradox, picture-motions
considered as _time measured without sound_. But think of a lively and
humoresque clock that does not tick and takes only an hour to record a
day. Think of a noiseless electric vehicle, where you are looking out of
the windows, going down the smooth boulevard of Wonderland. Consider a
film with three simple time-elements: (1) that of the pursuer, (2) the
pursued, (3) the observation vehicle of the camera following the road and
watching both of them, now faster, now slower than they, as the
photographer overtakes the actors or allows them to hurry ahead. The
plain chase is a bore because there are only these three time-elements.
But the chase principle survives in every motion picture and we simply
need more of this sort of time measurement, better considered. The more
the non-human objects, the human actors, and the observer move at a
varying pace, the greater chances there are for what might be called
time-and-space music.

No two people in the same room should gesture at one mechanical rate, or
lift their forks or spoons, keeping obviously together. Yet it stands to
reason that each successive tableau should be not only a charming
picture, but the totals of motion should be an orchestration of various
speeds, of abrupt, graceful, and seemingly awkward progress, worked into
a silent symphony.

Supposing it is a fisher-maiden's romance. In the background the waves
toss in one tempo. Owing to the sail, the boat rocks in another. In the
foreground the tree alternately bends and recovers itself in the breeze,
making more opposition than the sail. In still another time-unit the
smoke rolls from the chimney, making no resistance to the wind. In
another unit, the lovers pace the sand. Yet there is one least common
multiple in which all move. This the producing genius should sense and
make part of the dramatic structure, and it would have its bearing on the
periodic appearance of the minor and major crises.

Films like this, you say, would be hard to make. Yes. Here is the place
to affirm that the one-reel Intimate Photoplay will no doubt be the form
in which this type of ti