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about it in its use of a slightly similar magic device. The Tinted Venus was a novel by F. Anstey, whose production as a film was in my hands, but I have forgotten all the details of the story although it presented at least one very interesting problem. However, I have the stills before me as I write and I think I can gather enough of the argument for my purpose. Imagine a rather common young man engaged to a girl whom he takes for an afternoon to some pleasure gardens — the original could have been Rosherville or Vauxhall. He sees a life-size statue of Venus in classical Grecian drapery and pays more attention to it than his fiancee approves. A silly tiff develops into a real quarrel and the girl tears off her token ring and returns it to her swain. That young man, in a spirit of bravado and to show how little he cares, slips the ring on to the finger of the statue which thereupon miraculously begins to come to life and assume the ordinary hues of flesh and blood. The numerous embarrassments and adventures which naturally ensue when 'she5 follows the hero of her release back to his home can be imagined and need not be described.
In order to portray the story properly the first thing to do was to find a lady of statuesque appearance to play the name part. This done, I had to procure a statue so exactly like her that the change from marble to reality would look sufficiently convincing. I took the lady to a sculptor who said he could and would make me a statue in the exact likeness of the original. He did. And the result was thoroughly disappointing. When the lady was whitened to look like marble she and the statue were the spitten image of each other, but when she stood aside the other didn't even look like a statue — it looked all wrong. This was very puzzling.
Then I remembered from my early art training that, while the human head has a length of about one seventh of the total length of the whole figure from top to toe, there is a tradition in art that the head should always be drawn only one eighth of the total height, and in statuary it is often even reduced to one ninth. Consequently we are so used to seeing in pictures, and particularly in sculpture, people with small heads that when we are confronted with figures in natural proportions they look wrong. That is why full-length photographic portraits often look stocky and out of shape. Evidently that is what had happened here. So I was faced with the choice between an unnatural-looking statue coming to life, or alternatively a natural-looking one whose head swells visibly to greater size under the influence of the spell. I chose the
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