The theatre of science; a volume of progress and achievement in the motion picture industry (1914)

10 C!)eCI)eatre screen (in the flesh). Perhaps even to-day this view is not wholly eliminated, but the ill-advised release of films "showing how moving pictures are made," as described elsewhere in the volume, is calculated to destroy more than one cherished illusion of the movingpicture patron. Shortly after tlie Union Square Theatre success, Rich G. Hollaman, of the Eden Musee, a man v^'hose name will be vinritten high in film history, came upon the scene, establishing in the Musee Auditorium a theatre where hourly exhibitions of moving pictures were offered. This was seventeen years ago ; yet save on Sundays there has not been a day in all these years that this policy has been deviated from. Hollaman called his machine the Cinematograph, though it was not the Lumisre device which was used there all these years. To this day the Eden Musee continues to exploit the Cinematograph, though the idea is that this is the American machine of that name. But the truth is that Hollaman had in his employ practically from the outset Edwin S. Porter and Francis B. Cannock, the two greatest American operators of that day, and perhaps of to-day also; though both have become famous and potent in the industry, as related in another chapter. Porter and Cannock, in association with Hollaman, in 1910-11 introduced the Simplex machine, and all three have made a great success of the enterprise. As for the Eden Musee, it is held to-day among the higher grade film interests as about the very last word in the presentation of moving pictures, and Richard Hollaman's influence otherwise has been wholly uplifting, he being invariably the first to undertake experiments with educational films and persistently giving his time and contributing financially to altruistic