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wooden stand. Their operator and general manager for film purposes was a man named Spencer Clarke who was my contact in the matter, though where I came in I cannot at all remember. In my recollection it feels as if the whole fantastic outfit burst upon
me in a day and dropped out of my life again a few weeks later, though I seem to have travelled about with Spencer Clarke quite a lot in the meantime. And I have in my possession now two Lumiere mechanisms which, I think, can only have come to me somehow through that connection. It is certainly very strange that two such important businesses should have joined hands and plunged together into the almost completely undeveloped sphere of the 'pictures' — and plunged in such a big way too — apparendy without any idea of what they meant to do about it. They faded out just as quiedy as they came in and I never heard another word of them.
It was during our tenancy of the shop in Cecil Court that I conceived the idea of adding to the interest and value of a film show by improving the presentation of the films — setting the picture in a coloured frame or similar device on the principle that a jewel is improved by setting it in a splended mount. It must be remembered that although there were a larger number of films available they were all of about the same length and took a little under one minute of running time. I built up a sort of multiple projector — four machines, two above and two below — each with its own arc-lamp and all converging upon the same screen. One projected the film, another threw around it by
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