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Taking a shot in 1913 for the Pathi film, “ Le Prince.” Note the interior set fixed on the Promenade by the sea. Back projec- tion had not been dis- covered, and the camera was a fixture in those days. Arc lights, also, were not used. fOBiy>tAI!S By ROBB LAWSON of ElmS During his film career Robb Lawson has exploited some of the most famous productions of the day and acted as Press relations man for Rudolph Valentino, Charlie Chaplin, Mary PickJord, Douglas Fairbanks, Eddie Cantor, Ronald Colman, George Arliss, and other personalities. O VER one hundred years ago Dr. Peter Mark Roget bent down to pick up a paper in the front room of a hotel in the main Bristol Street. Through the Venetian blind he caught a glimpse of a cart passing along. Queer ? The wheel spokes seemed to stand still—yet the cart moved ! That inspired him to read a Paper before the Royal Society on December 9th, 1824, the title of which was “ Explanation of an Optical Deception in the Appearance of the Spokes of a Wheel seen through Vertical Apertures. Roget had discovered the theory of “ Persistence of Vision,” the first piinciple of kinematography. That first crude hint, during the next sixty-six years, set scores of inventors to work in search of the secret of how to make photographs move. By 1870 Henry Heyl, of Philadelphia, had so far progressed with the idea that he was able to present before an audience of 1,500 a series of moving pictures. These were actual photos, taken in sequence at brief intervals by an ordinary camera, and pieced together. In one series of pictures a couple of 3