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and public-spirited enterprises wherein co-operation of the money-mad interests of the industry was entirely lacking.
The Cinematograph (Lumiere's) remained at Keith's theatres for a prolonged run, during which period the Edison Company came forth with a vastly improved machine (the Vitascope being absolutely unrecognizable in the newer production). Oddly enough, the new Edison apparatus was called the Kinetoscope, the name given to the slot-machine device.
It was about the same time that the new Kinetoscope was placed on the market that the American Biograph was brought to Keith's to succeed the Cinematograph. The Biograph was the invention of Hermann Casler, of Canastota, N. Y. Associated with Casler was Henry N. Marvin, now one of the big factors in the industry, and the first film magnate to become a box holder in the Metropolitan Opera House.
The Biograph created a perfect furore. To this day, save for the newly discovered advances which the camera man has gradually fallen heir to, no better projection than that accomplished with the Casler machine sixteen years ago has been witnessed. Immediately the Biograph became the most compelling attraction available to showmen. Yet the price charged for the service kept dwindling until $50 to $75 a week v/as gladly accepted.
It was discovered, too, that the Biograph as originally conceived was not adaptable to "commercial" work, and the mechanism and the productions were greatly altered for a readier service.
And now came a lull for more than three years. In the vaudeville theatres the moving pictures lost their vogue. It is only a truth to state that they were used