Thus much as to faces that are not hieroglyphics. Yet fixed facial hieroglyphics have many legitimate uses. For instance in The Avenging Conscience, as the play works toward the climax and the guilty man is breaking down, the eye of the detective is thrown on the screen with all else hid in shadow, a watching, relentless eye. And this suggests a special talisman of the old Egyptians, a sign called the Eyes of Horus, meaning the all-beholding sun. Here is the picture of an inundated garden: [Illustration] Latin equivalent, the letter S. In our photoplays the garden is an ever-present resource, and at an instant's necessity suggests the glory of nature, or sweet privacy, and kindred things. The Egyptian lotus garden had to be inundated to be a success. Ours needs but the hired man with the hose, who sometimes supplies broad comedy. But we turn over the cardboard, for the deeper meaning of this hieroglyphic. Our gardens can, as of old, run the solemn range from those of Babylon to those of the Resurrection. If there is one sceptic left as to the hieroglyphic significance of the photoplay, let him now be discomfited by page fifty-nine, Standard Dictionary. The last letter in this list is a lasso: [Illustration]. The equivalent of the lasso in the Roman alphabet is the letter T. The crude and facetious would be apt to suggest that the equivalent of the lasso in the photoplay is the word trouble, possibly for the hero, but probably for the villain. We turn to the other side of the symbol. The noose may stand for solemn judgment and the hangman, it may also symbolize the snare of the fowler, temptation. Then there is the spider web, close kin, representing the cruelty of evolution, in The Avenging Conscience. This list is based on the rows of hieroglyphics most readily at hand. Any volume on Egypt, such as one of those by Maspero, has a multitude of suggestions for the man inclined to the idea. If this system of pasteboard scenarios is taken literally, I would like to suggest as a beginning rule that in a play based on twenty hieroglyphics, nineteen should be the black realistic signs with obvious meanings, and only one of them white and inexplicably strange. It has been proclaimed further back in this treatise that there is only one witch in every wood. And to illustrate further, there is but one scarlet letter in Hawthorne's story of that name, but one wine-cup in all of Omar, one Bluebird in Maeterlinck's play. I do not insist that the prospective author-producer adopt the hieroglyphic method as a routine, if he but consents in his meditative hours to the point of view that it implies. The more fastidious photoplay audience that uses the hieroglyphic hypothesis in analyzing the film before it, will acquire a new tolerance and understanding of the avalanche of photoplay conceptions, and find a promise of beauty in what have been properly classed as mediocre and stereotyped productions.