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128 PLAN FOR CINEMA
be achieved? And, having been achieved, what will be the shape of the building in which performances are given? Let us first imagine a solid block of ice of the kind often seen in fishmongers' shops. Imagine now, still on this miniature scale, a similar cube whose sides, instead of being ice, are made of some translucent material, such as mica or grease-paper. In short, a box rather like fashionable decorative aquariums, except that the sides are not of glass. With lights out or darkened room, we see, not the box, but, say, a model Chinese garden on a square tray, a wellknown feature of most florists' establishments. Now let us imagine our mica bo^ enlarged to the size rectilineally of the centre court at Wimbledon. Its sides consist now oijour immense translucent screens ; it need not necessarily have a bottom or a top, the screens standing on a wooden or metal base, but of the same colour as the screens. Seats are arranged in tiers round the four sides, the whole theatre or stadium thus arranged being, of course, enclosed by a roof. When the lights are on, all we see are the screens ; when they are out and the theatre is in darkness, there before us is a tennis match, just as it would appear in actuality.
Let us see now how such a thing might be done with the ordinary monochromatic, scenographic cinema of to-day. Still using the tennis match as example, we place four cameras round the court, one for each side, spaced equidistant from each other, and each the same distance from its respective side. A lens would