among her own people, and robed and
armed and panoplied, the guardian of Pericles, appearing in those streets
that were herself. Let the architect show her as she came only in a
vision to Phidias, while the dramatic writers and mathematicians and
poets and philosophers go by. The crowds should be like pillars of
Athens, and she like a great pillar. The crowds should be like the
tossing waves of the Ionic Sea and Athena like the white ship upon the
waves. The audiences in the tragedies should be shown like wheat-fields
on the hill-sides, always stately yet blown by the wind, and Athena the
one sower and reaper. Crowds should descend the steps of the Acropolis,
nymphs and fauns and Olympians, carved as it were from the marble, yet
flowing like a white cataract down into the town, bearing with them
Athena, their soul. All this in the Photoplay of Pericles.

No civic or national incarnation since that time appeals to the poets
like the French worship of the Maid of Orleans. In Percy MacKaye's book,
The Present Hour, he says on the French attitude toward the war:--

"Half artist and half anchorite,
Part siren and part Socrates,
Her face--alluring fair, yet recondite--
Smiled through her salons and academies.

"Lightly she wore her double mask,
Till sudden, at war's kindling spark,
Her inmost self, in shining mail and casque,
Blazed to the world her single soul--Jeanne d'Arc!"

To make a more elaborate showing of what is meant by
architecture-in-motion, let us progress through the centuries and suppose
that the builder has this enthusiasm for France, that he is slowly
setting about to build a photoplay around the idea of the Maid.

First let him take the mural painting point of view. Bear in mind these
characteristics of that art: it is wall-painting that is an organic part
of the surface on which it appears: it is on the same lines as the
building and adapted to the colors and forms of the structure of which it
is a part.

The wall-splendors of America that are the most scattered about in
inexpensive copies are the decorations of the Boston Public Library. Note
the pillar-like quality of Sargent's prophets, the solemn dignity of
Abbey's Holy Grail series, the grand horizontals and perpendiculars of
the work of Puvis de Chavannes. The last is the orthodox mural painter of
the world, but the other two will serve the present purpose also. These
architectural paintings if they were dramati