“This was the method by which, in conjunction with a profound study of outward nature, sympathy with the beauty of different types of face and varieties of form, with the many changing hues of the Venetian scene, with the great laws of color and a knowledge of literature and history, he was able to shadow forth his great imagery of the intuitional world.”

This method of Tintoretto suggests several possible derivatives in the preparation of motion pictures.  Let the painters and sculptors be now called upon for painting models and sculptural models, while the architect, already present, supplies the architectural models, all three giving us visible scenarios to furnish the cardinal motives for the acting, from which the amateur photoplay company of the university can begin their interpretation.

For episodes that follow the precedent of the simple Action Film tiny wax models of the figures, toned and costumed to the heart’s delight, would tell the high points of the story.  Let them represent, perhaps, seven crucial situations from the proposed photoplay.  Let them be designed as uniquely in their dresses as are the Russian dancers’ dresses, by Leon Bakst.  Then to alternate with these, seven little paintings of episodes, designed in blacks, whites, and grays, each representing some elusive point in the intimate aspects of the story.  Let there be a definite system of space and texture relations retained throughout the set.

The models for the splendor scenes would, of course, be designed by the architect, and these other scenes alternated with and subordinated to his work.  The effects which he would conceive would be on a grander scale.  The models for these might be mere extensions of the methods of those others, but in the typical and highest let us imagine ourselves going beyond Tintoretto in preparation.

Let the principal splendor moods and effects be indicated by actual structures, such miniatures as architects offer along with their plans of public buildings, but transfigured beyond that standard by the light of inspiration combined with experimental candle-light, spot-light, sunlight, or torchlight.  They must not be conceived as stage arrangements of wax figures with harmonious and fitting backgrounds, but as backgrounds that clamor for utterance through the figures in front of them, as Athens finds her soul in the Athena with which we began.  These three sorts of models, properly harmonized, should have with them a written scenario constructed to indicate all the scenes between.  The scenario will lead up to these models for climaxes and hold them together in the celestial hurdle-race.