But what the recreational screen has done casually and inadequately for the dissemination of general knowledge, is, of course, negligible compared with the influence that has been exerted by the educational films whose use in the class-rooms of our schools and colleges has been for some years past constantly on the increase. The growing importance of the film as an adjunct to instruction is shown by the fact that its progress has not been left to chance, as was the evolution of the recreational movie. The realm of visual education has been taken over by men and organizations whose qualifications for the task they have assumed assure to the screen in the class-room a great and splendid future. Concerning this matter, Will H. Hays recently said: The Society of Visual Education contains thirteen presidents of colleges, six of normal schools, three representatives of large foundations, seventy-six professors and instructors in colleges and universities, nine state superintendents of public instruction and seventy-one city superintendents of schools. There are other groups of educators in the motion picture field—notably the National Academy of Visual Instruction and the Visual Instruction Association of America. An incomplete list shows twenty-eight colleges and universities which have organized departments for the distribution of films. At least seventeen of our largest educational institutions are giving courses to their students on the use of the motion picture for visual instruction. Columbia has courses which teach photoplay writing and the mechanics of production. The University of Nebraska has erected a film studio on its campus, and the Universities of Yale, Chicago, Wisconsin, Indiana, Michigan, Oklahoma, Illinois and Utah have started the production of their own motion pictures. Let us confine ourselves for the moment to what the educational films are doing in the realm of history, leaving their achievements as pictorial aids to the study of astronomy, physics, ethnology, palæeontology, geology, and other sciences, for later consideration. If the Esperanto of the Eye is to be instrumental in giving to this and coming generations an accurate picture of our race’s past, it is essential that our films dealing with history should be accurate in detail. A falsehood exploited by the screen can do more damage than a misrepresentation imbedded in a text-book. It is encouraging, therefore, to those of us who believe that educational films are destined eventually to exercise an influence for good upon mankind that may save it from a return to barbarism to realize that the screen as an adjunct to the teaching of history is receiving valuable assistance from our most eminent professors in this field of study.