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has drawn new managers and wealth to aid science in preserving the art of acting. The Hon in his native jungle can do many more interesting and intelligent things than man compels him to do in captivity. His spirit is broken by his condition; so it is with the actor. Life is controlled by two dominant forces — love and fear. The actor who is dominated by the fear of suffering and starvation is not mentally or physically fit to play a love scene that will warm either his managers or their audience. So powerful is this phenomenon of warmth or fascination that it will radiate from a photograph of its possessor.
About the time commercialism seized the dramatic art science had created a light that marked an epoch in the history of art, as important as the Star of Bethlehem did in religion. This light sizzled and spat as it sputtered its importance to the wizards of progress. Its toddling steps in the moving-picture world is history. Wise men saw it and said: "How much?" It cost not much more than tickets for a family to see a successful show. Then they got busy. Studios were erected, directors and actors engaged, and places to exhibit in. The public came and were entertained; and, like the little peach in the orchard, they grew and grew. The Napoleons and Neros of the dramatic world waxed exceedingly wroth; but, not forgetting their love for the dear public which Vanderbilt once . said "be damned!" invoked the aid of the authorities to enact such laws as would protect the patrons of their opposition from possible calamity, such as fire, overcrowding, and morals. But the "movie" manager having had a taste of the managerial pie, said: "Good business," and did build temples of amusement so beautiful and perfect they were graft-proof, and filled