And “At the end of the Road”—by faith and a study of the signs—he proclaimed the New Jerusalem for America, particularly for his home-village.... Now, there is a peculiar value attached to this journey—the influence on the poet, not the preacher’s influence on the people. It was after this trip that we got _The Santa Fé Trail_, _The Fireman’s Ball_, written in a style in which were later written _The Chinese Nightingale_ and _The Congo_. And, because of the relation of its style to these, we even judge _I heard Emmanuel Singing_ a good thing. This, then, is Lindsay’s importance among us; his contribution of this style of vaudeville chanting. This is the poet. He does not count when writing _Galahad_, _Knight Who Perished_, _King Arthur’s Men Have Come Again_, _Incense_, _Springfield Magical_, or declaring “by faith and a study of the signs.” III. On November first, 1915, at Springfield, Illinois, Vachel Lindsay signed a book on _The Art of the Moving Picture_. The last chapter was called “The Acceptable Year of the Lord.” From having seen forecastings in photoplay hieroglyphics the children in times-to-come can rise and say: “This day is the scripture fulfilled in your ears”: Scenario writers, producers, photoplay actors, endowers of exquisite films, sects using special motion pictures for a predetermined end, all you who are taking the work as a sacred trust, I bid you God-speed. Consider what it will do to your souls, if you are true to your trust.... The record of your ripeness will be found in your craftsmanship. You will be God’s thoroughbreds. It has come then, this new weapon of men, and the face of the whole earth changes. In after centuries its beginning will be indeed remembered. It has come, this new weapon of men, and by faith and a study of the signs we proclaim that it will go on and on in immemorial wonder. This, then, is the prophecy, and thus has he proclaimed it: “By my hypothesis, Action Pictures are sculpture-in-motion, Intimate Pictures are paintings-in-motion, Splendour Pictures are architecture-in-motion.... The rest of the work is a series of after thoughts and speculations not brought forward so dogmatically.” Now, the Arts are complete in themselves; they contain all. The moving picture has come to be a parasite on them. Sculpture has become a vital thing to this age because of August Rodin. Meunier has moved us too. Also Monolo and Fagi. Now comes Lindsay: “I desire for the moving picture not the stillness but the majesty of sculpture.... Not the mood of Venus de Milo, but let us turn to that sister of hers—the great Victory of Samothrace”.