as little old New Salem, Illinois, one hundred years ago, or the
wilderness in which walked Johnny Appleseed.

Now it is the independence of Spirit of this New Arabia that I hope the
Denver Art Museum can interpret in its photoplay films, and send them on
circuits to the Art Museums springing up all over America, where
sculpture, architecture, and painting are now constantly sent on circuit.
Let that already established convention--the "circuit-exhibition"--be
applied to this new art.

And after Denver has shown the way, I devoutly hope that Great City of
Los Angeles may follow her example. Consider, O Great City of Los
Angeles, now almost the equal of New York in power and splendor,
consider what it would do for the souls of all your film artists if you
projected just such a museum as Denver is now projecting. Your fate is
coming toward you. Denver is halfway between Chicago, with the greatest
art institute in the country, and Los Angeles, the natural capital of the
photoplay. The art museums of America should rule the universities, and
the photoplay studios as well. In the art museums should be set the final
standards of civic life, rather than in any musty libraries or routine
classrooms. And the great weapon of the art museums of all the land
should be the hieroglyphic of the future, the truly artistic photoplay.

And now for book two, at length. It is a detailed analysis of the films,
first proclaimed in 1915, and never challenged or overthrown, and, for
the most part, accepted intact by the photoplay people, and the critics
and the theorists, as well.

BOOK II--THE UNCHALLENGED OUTLINE OF PHOTOPLAY CRITICAL METHOD

CHAPTER I

THE POINT OF VIEW

While there is a great deal of literary reference in all the following
argument, I realize, looking back over many attempts to paraphrase it for
various audiences, that its appeal is to those who spend the best part of
their student life in classifying, and judging, and producing works of
sculpture, painting, and architecture. I find the eyes of all others
wandering when I make talks upon the plastic artist's point of view.

This book tries to find that fourth dimension of architecture, painting,
and sculpture, which is the human soul in action, that arrow with wings
which is the flash of fire from the film, or the heart of man, or
Pygmalion's image, when it becomes a woman.

The 1915 edition was used by Victor O. Freeburg as one of the text-books
in the C