Then comes a procession indeed. It is as though the audience were standing at the side of the throne at Doomsday looking down the hill of Zion toward the little earth. There is a line of those who are to be judged, leaders from the beginning of history, barbarians with their crude weapons, classic characters, Cæsar and his rivals for fame; mediæval figures including Dante meditating; later figures, Richelieu, Napoleon. Many people march toward the strange glorifying eye of the camera, growing larger than men, filling the entire field of vision, disappearing when they are almost upon us. The audience weighs the worth of their work to the world as the men themselves with downcast eyes seem to be doing also. The most thrilling figure is Tolstoi in his peasant smock, coming after the bitter egotists and conquerors. (The impersonation is by Edward Thomas.) I shall never forget that presence marching up to the throne invisible with bowed head. This procession is to illustrate the line: "He is sifting out the hearts of men before his Judgment Seat." Later Lincoln is pictured on the steps of the White House. It is a quaint tableau, in the spirit of the old-fashioned Rogers group. Yet it is masterful for all that. Lincoln is taking the chains from a cowering slave. This tableau is to illustrate the line: "Let the hero born of woman crush the serpent with his heel." Now it is the end of the series of visions. It is morning in Mrs. Howe's room. She rises. She is filled with wonder to find the poem on her table. Written to the rousing glory-tune of John Brown's Body the song goes over the North like wildfire. The far-off home of the widow is shown. She and the boy read the famous chant in the morning news column. She takes the old sword from the wall. She gives it to her son and sends him to enlist with her blessing. In the next picture Lincoln and Mrs. Howe are looking out of the window where was once the idle recruiting tent. A new army is pouring by, singing the words that have rallied the nation. Ritualistic birth and death have been discussed. This film might be said to illustrate ritualistic birth, death, and resurrection. The writer has seen hundreds of productions since this one. He has described it from memory. It came out in a time when the American people paid no attention to the producer or the cast. It may have many technical crudities by present-day standards. But the root of the matter is there. And Springfield knew it. It was brought back to our town many times. It was popular in both the fashionable picture show houses and the cheapest, dirtiest hole in the town. It will soon be reissued by the Vitagraph Company. Every student of American Art should see this film. The same exultation that went into it, the faculty for commanding the great spirits of history and making visible the unseen powers of the air, should be applied to Crowd Pictures which interpret the non-sectarian prayers of the broad human race.