CHAPTER XI.
ARCHITECTURE-IN-MOTION This chapter is a superstructure upon the foundations of chapters five, six, and seven.
I have said that it is a quality, not a defect, of the photoplays that while the actors tend to become types and hieroglyphics and dolls, on the other hand, dolls and hieroglyphics and mechanisms tend to become human.
By an extension of this principle, non-human tones, textures, lines, and spaces take on a vitality almost like that of flesh and blood.

It is partly for this reason that some energy is hereby given to the matter of reenforcing the idea that the people with the proper training to take the higher photoplays in hand are not veteran managers of vaudeville circuits, but rather painters, sculptors, and architects, preferably those who are in the flush of their first reputation in these crafts.

Let us imagine the centres of the experimental drama, such as the Drama League, the Universities, and the stage societies, calling in people of these professions and starting photoplay competitions and enterprises.
Let the thesis be here emphasized that the architects, above all, are the men to advance the work in the ultra-creative photoplay.

"But few architects," you say, "are creative, even in their own profession." Let us begin with the point of view of the highly trained pedantic young builder, the type that, in the past few years, has honored our landscape with those paradoxical memorials of Abraham Lincoln the railsplitter, memorials whose Ionic columns are straight from Paris.

Pericles is the real hero of such a man, not Lincoln.