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"Intolerance" 119 up a copy of Walt Whitman's "Leaves of Grass," and his eye caught: . . . endlessly rocks the cradle, Uniter of Here and Hereafter. He saw a picture: a girl—Lillian—endlessly rocking the cradle of humanity, binding the ages together—ages of human intolerance. Feverishly, he mapped out a new scenario, far-reaching, comprehensive, covering the great episodes of intolerance: back through the religious wars, with the Massacre of St. Bartholomew, through the Crucifixion, back to the days of Belshazzar, tyrant of Babylon. Beginning with the modern story, he would lead it through episodes of tyranny and bloodshed, down to the blind cruelty and intolerance of today. And always, between, that young mother, endlessly rocking the cradle of the child who, in every age, must pay the price. The preparations for "Intolerance," as the new produc- tion was now called, were architecturally far more pre- tentious and costly than those for "The Birth of a Na- tion," or for any spectacle play up to that time. Gigantic plaster elephants rose a hundred feet above the street level; the towering buildings of Babylon stretched, a profile of ancient Asia, across the sky. Nubian lions roared; a motley assemblage of Persians, Egyptians, Babylonians, priests, dancing-girls, charioteers, and fifty-seven other varieties, gathered for rehearsal. Says Griffith's biographer: The luncheon hour "on location" composed one of the most picturesque sights ever witnessed by human eyes. At times there were as many as fifteen thousand men, women and chil-