Then there came invitations to speak at Chicago University, and before the Fortnightly Club, Chicago, all around 1916-17.

One difficulty was getting the film to _prove_ my case from out the commercial whirl.

I talked at these three and other places, but hardly knew how to go about crossing the commercial bridge.

At last, with the cooperation of Director Eggers, we staged, in the sacred precincts of Fullerton Hall, Mae Marsh in The Wild Girl of the Sierras.

The film was in battered condition, and was turned so fast I could not talk with it satisfactorily and fulfil the well-known principles of chapter fourteen.
But at least I had converted one Art Institute Director to the idea that an ex-student of the Institute could not only write a book about painting-in-motion, but the painting could be shown in an Art Museum as promise of greater things in this world.