Here is a colonial Virginia maiden by the hearth of the inn. Bending over her in a cherishing way is the negro maid. On the other side, the innkeeper shows a kindred solicitude. A dishevelled traveller sleeps huddled up in the corner. The costume of the man fades into the velvety shadows of the wall. His face is concealed. His hair blends with the soft background. The clothing of the other three makes a patch of light gray. Added to this is the gayety of special textures: the turban of the negress, a trimming on the skirt of the heroine, the silkiness of the innkeeper's locks, the fabric of the broom in the hearthlight, the pattern of the mortar lines round the bricks of the hearth. The tableau is a satisfying scheme in two planes and many textures. Here is another sort of painting. The young mother in her pretty bed is smiling on her infant. The cot and covers and flesh tints have gentle scales of difference, all within one tone of the softest gray. Her hair is quite dark. It relates to the less luminous black of the coat of the physician behind the bed and the dress of the girl-friend bending over her. The nurse standing by the doctor is a figure of the same gray-white as the bed. Within the pattern of the velvety-blacks there are as many subtle gradations as in the pattern of the gray-whites. The tableau is a satisfying scheme in black and gray, with practically one non-obtrusive texture throughout. Here is a picture of an Englishman and his wife, in India. It might be called sculptural, but for the magnificence of the turban of the rajah who converses with them, the glitter of the light round his shoulders, and the scheme of shadow out of which the three figures rise. The arrangement remotely reminds one of several of Rembrandt's semi-oriental musings. Here is a picture of Mary Pickford as Fanchon the Cricket. She is in the cottage with the strange old mother. I have seen a painting in this mood by the Greek Nickolas Gysis. The Intimate-and-friendly Moving Picture, the photoplay of painting-in-motion, need not be indoors as long as it has the native-heath mood. It is generally keyed to the hearthstone, and keeps quite close to it. But how well I remember when the first French photoplays began to come. Though unintelligent in some respects, the photography and subject-matter of many of them made one think of that painter of gentle out-of-door scenes, Jean Charles Cazin. Here is our last clipping, which is also in a spirit allied to Cazin. The heroine, accompanied by an aged shepherd and his dog, are in the foreground. The sheep are in the middle distance on the edge of the river. There is a noble hill beyond the gently flowing water. Here is intimacy and friendliness in the midst of the big out of doors.