zed, still retaining their
powerful lines, would be three exceedingly varied examples of what is
meant by architecture-in-motion. The visions that appear to Jeanne d'Arc
might be delineated in the mood of some one of these three painters. The
styles will not mix in the same episode.

A painter from old time we mention here, not because he was orthodox, but
because of his genius for the drawing of action, and because he covered
tremendous wall-spaces with Venetian tone and color, is Tintoretto. If
there is a mistrust that the mural painting standard will tend to destroy
the sense of action, Tintoretto will restore confidence in that regard.
As the Winged Victory represents flying in sculpture, so his work is the
extreme example of action with the brush. The Venetians called him the
furious painter. One must understand a man through his admirers. So
explore Ruskin's sayings on Tintoretto.

I have a dozen moving picture magazine clippings, which are in their
humble way first or second cousins of mural paintings. I will describe
but two, since the method of selection has already been amply indicated,
and the reader can find his own examples. For a Crowd Picture, for
instance, here is a scene at a masquerade ball. The glitter of the
costumes is an extension of the glitter of the candelabra overhead. The
people are as it were chandeliers, hung lower down. The lines of the
candelabra relate to the very ribbon streamers of the heroine, and the
massive wood-work is the big brother of the square-shouldered heroes in
the foreground, though one is a clown, one is a Russian Duke, and one is
Don Caesar De Bazan. The building is the father of the people. These
relations can be kept in the court scenes of the production of Jeanne
d'Arc.

Here is a night picture from a war story in which the light is furnished
by two fires whose coals and brands are hidden by earth heaped in front.
The sentiment of tenting on the old camp-ground pervades the scene. The
far end of the line of those keeping bivouac disappears into the
distance, and the depths of the ranks behind them fade into the thick
shadows. The flag, a little above the line, catches the light. One great
tree overhead spreads its leafless half-lit arms through the gloom.
Behind all this is unmitigated black. The composition reminds one of a
Hiroshige study of midnight. These men are certainly a part of the
architecture of out of doors, and mysterious as the vault of Heaven. This
ty