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he the artist that modulated contrast is instinctive. Clow ns, buffooning around the throne, have ruled em- pires. Hut a clown upon the throne would be incongru- ous where he other than the one and only Charles. "A Night in a London Music Hall." "A Woman of Paris." Between them a metoric career comparable with nothing in the cinema sphere, even as Mr. Chaplin is himself comparable with no one else in it. To the man on the street Charlie is darling of the gods; as a matter of fact, one surmises that the gods, far from fondling him, have dealt him many a smack in the eye. An hour or two on his set shows that only his infinite energy and his mental agility have enabled him to laugh at them. WHAT WAS USED IN THE MAKING FEW persons realize the quantities of material that goes into the making of a picture of the magnitude of "The Gold Rush," or the army of artists required to work these huge amounts into the ingenious sets that feature a ten-part production such as Chaplin's great comedy drama. More than 500 skilled workmen specially trained in scenic art labored to produce the settings used in the Chaplin studio during the two years of the filming of the nicture. On the studio lot in Hollywood was con- structed huge mountains that were visible at a distance so realistic that many strangers in the cinema capitol were deceived by the artistry of the technical heads of Chaplin's organization. Glistening in the sunlight, the artificial snowcapped peaks gave the appearance that a huge section of the snow- crowned summit of some Sierra mount had been trans- ferred to Hollywood, and hundreds of visitors made pilgrimages to the neighborhood for a closer view. These snow mountains were employed for close-up views and as backgrounds for scenes not practicable to take in the real snow banks themselves. Even with the large force of workmen employed, weeks were required to fabricate these settings. Only one production at a time occupies Chaplin's atten- tion, and t^e entire studio was given over to the settings used in "The Gold Rush" until the last foot of film had met the master comedian's approval. Lumber to the extent of 239,577 feet, comprised the framework; chicken wire of 22,750 linear feet with 22,000 feet of burlap spread upon it formed the cover- ing for the artificial mountains used in the pano- ramas of "The Gold Rush." It required 200 tons of plaster, 285 tons of salt and 100 barrels of flour to arti- ficially produce the ice and snow. In addition, four car- loads of confetti was employed in producing blizzard and snow scenes. The tools used, including 300 picks and shovels, would constitute a year's stock for a large hardware store. Othr>r miscellaneous items of hardware that entered into the picture include 2.000 feet of garden hose, 7,000 feet of rope, four tons of steel, five tons of coke, four tons of asbestos, 35 tons of cement, 400 kegs of nails, 3000 bolts and several tons of other smaller articles. These items include only the material used in the studio sets and do not include the great quantities of supplies transported to the summit of the High Sierras, where a very large proportion of the scenes in the picture were taken, with a great army of extras and the neces- sary artisans in attendance.