ture to a half reel or
quarter reel, just as the Imagist poem is generally a half or quarter
page. A series of them could fill a special evening.

The Imagists are colorists. Some people do not consider that photographic
black, white, and gray are color. But here for instance are seven colors
which the Imagists might use: (1) The whiteness of swans in the light.
(2) The whiteness of swans in a gentle shadow. (3) The color of a
sunburned man in the light. (4) His color in a gentle shadow. (5) His
color in a deeper shadow. (6) The blackness of black velvet in the light.
(7) The blackness of black velvet in a deep shadow. And to use these
colors with definite steps from one to the other does not militate
against an artistic mystery of edge and softness in the flow of line.
There is a list of possible Imagist textures which is only limited by the
number of things to be seen in the world. Probably only seven or ten
would be used in one scheme and the same list kept through one
production.

The Imagist photoplay will put discipline into the inner ranks of the
enlightened and remind the sculptors, painters, and architects of the
movies that there is a continence even beyond sculpture and that seas of
realism may not have the power of a little well-considered elimination.

The use of the scientific film by established institutions like schools
and state governments has been discussed. Let the Church also, in her own
way, avail herself of the motion picture, whole-heartedly, as in
mediaeval time she took over the marvel of Italian painting. There was a
stage in her history when religious representation was by Byzantine
mosaics, noble in color, having an architectural use, but curious indeed
to behold from the standpoint of those who crave a sensitive emotional
record. The first paintings of Cimabue and Giotto, giving these formulas
a touch of life, were hailed with joy by all Italy. Now the Church
Universal has an opportunity to establish her new painters if she will.
She has taken over in the course of history, for her glory, miracle
plays, Romanesque and Gothic architecture, stained glass windows, and the
music of St. Cecilia's organ. Why not this new splendor? The Cathedral of
St. John the Divine, on Morningside Heights, should establish in its
crypt motion pictures as thoroughly considered as the lines of that
building, if possible designed by the architects thereof, with the same
sense of permanency.

This chapter does