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The Illumination of the Interior IN the early days of the motion picture theater, it was customary to present the pictures in a room containing practically no illumination except what resulted from reflec- tion at the screen. This procedure may have been justified to a certain extent at that time because the light used for projecting the picture was very weak, making it necessary to exclude practically all the light from the room in order that the screen might appear of satisfactory brightness. With improvements in the projection apparatus and in the quality of the photographic materials, the brightness of the picture itself has been increased until it is of relatively high intensity. Following this, there has been some increase in the illumination of the interior of the theater. The higher screen brightness naturally permits more interior illumina- tion without seriously interfering with the picture. The desirability of comfortably lighting the theater is at once apparent provided it can be done without loss of quality in the picture. It is hardly necessary to enumerate the objections to the use of poorly lighted theaters. The difficulty encountered by persons entering the theater in finding their way to unoccupied seats, and the strain placed upon the eyes by the sudden transition from the dark in- terior to the brightly lighted exterior when leaving, are familiar to everyone. Furthermore, in a poorly lighted theater, it is quite impossible for the management to super- vise adequately the conduct of individuals; a fact which has lead to no little criticism of the motion picture theater. More serious than any of these, however, is the tax placed upon the eyes when viewing a bright screen in a dark theater. The eyes become adjusted to brightness conditions just as a runner gets his second wind when his pace has become adjusted to his physical ability. The ideal condition for viewing the motion picture screen occurs when the eyes have become adapted to the average brightness of the