As to space measured without sound.  Suppose it is a humorous characterization of comfortable family life, founded on some Dutch Little Master.  The picture measures off its spaces in harmony.  The triangle occupied by the little child’s dress is in definite relation to the triangle occupied by the mother’s costume.  To these two patterns the space measured off by the boy’s figure is adjusted, and all of them are as carefully related to the shapes cut out of the background by the figures.  No matter how the characters move about in the photoplay, these pattern shapes should relate to one another in a definite design.  The exact tone value of each one and their precise nearness or distance to one another have a deal to do with the final effect.

We go to the photoplay to enjoy right and splendid picture-motions, to feel a certain thrill when the pieces of kaleidoscope glass slide into new places.  Instead of moving on straight lines, as they do in the mechanical toy, they progress in strange curves that are part of the very shapes into which they fall.

Consider:  first came the photograph.  Then motion was added to the photograph.  We must use this order in our judgment.  If it is ever to evolve into a national art, it must first be good picture, then good motion.

Belasco’s attitude toward the stage has been denounced by the purists because he makes settings too large a portion of his story-telling, and transforms his theatre into the paradise of the property-man.  But this very quality of the well spaced setting, if you please, has made his chance for the world’s moving picture anthology.  As reproduced by Jesse K. Lasky the Belasco production is the only type of the old-line drama that seems really made to be the basis of a moving picture play.  Not always, but as a general rule, Belasco suffers less detriment in the films than other men.  Take, for instance, the Belasco-Lasky production of The Rose of the Rancho with Bessie Barriscale as the heroine.  It has many highly modelled action-tableaus, and others that come under the classification of this chapter.  When I was attending it not long ago, here in my home town, the fair companion at my side said that one scene looked like a painting by Sorolla y Bastida, the Spaniard.  It is the episode where the Rose sends back her servant to inquire the hero’s name.  As a matter of fact there were Sorollas and Zuloagas all through the piece.  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.