When a negative is produced through the red screen, red light is chiefly transmitted, and red-colored objects in the original will appear transparent on the copy produced from the negative. Where the next section of negative has moved into place the green section of the filter has come into position, and the red-colored objects on this part of the negative will appear dark. This can be noticed in the illustrations, where such objects as the red coats of the horsemen and the red of the flowers, as shown in the enlarged pictures, in the small pictures appear light in every second view, and dark in each succeeding one. When the pictures are thrown on a screen, the transparent parts allow the colors of the filter to pass through, and the revolutions of the filter are arranged for showing the appropriate color for every picture. This will cause confusion, if, in repairing a broken kinemacolor film, an uneven number of pictures are cut out and the “pairs” thus interfered with. The successful reproducing of these wonderful colors is largely due to what we know as “persistence of vision” (the same principle on which the kinetoscope is based), and is easily recognized when we remember that the lighted point of a stick appears to our vision as a ring of fire when the stick is rapidly revolved. Just so with these pictures: they are produced so rapidly that the red of one lingers on the retina of the eye until the green appears, and the red of the first picture melts into the green of the next, which does not appear, however, until the red one has passed away. The green selected for the filter has in it a certain amount of blue, and the red a certain amount of orange, and in the fusion of the colors may be seen pleasing combinations of greenish-yellow, orange, grays, blues, and even rich indigos.