We enter into the play of those tones which with their intervals and their instrumental tone color appear like a wonderful mosaic of agreements and disagreements. Yet each disagreement resolves itself into a new agreement. Those tones seek one another. They have a life of their own, complete in itself. We do not want to change it. Our mind simply echoes their desires and their satisfaction. We feel with them and are happy in their ultimate agreement without which no musical melody would be beautiful. Bound by the inner law which is proclaimed by the first tones every coming tone is prepared. The whole tone movement points toward the next one. It is a world of inner self-agreement like that of the colors in a painting, of the curves in a work of sculpture, like the rhythms and rhymes in a stanza. But beyond the mere self-agreement of the tones and rhythms as such, the musical piece as a whole unveils to us a world of emotion. Music does not depict the physical nature which fine arts bring to us, nor the social world which literature embraces, but the inner world with its abundance of feelings and excitements. It isolates our inner experience and within its limits brings it to that perfect self-agreement which is the characteristic of every art. We might easily trace further the various means by which each particular art overcomes the chaos of the world and renders a part of it in a perfectly isolated form in which all elements are in mutual agreement. We might develop out of this fundamental demand of art all the special forms which are characteristic in its various fields. We might also turn to the applied arts, to architecture, to arts and crafts, and so on and see how new rules must arise from the combination of purely artistic demands and those of practical utility. But this would lead us too far into esthetic theory, while our aim is to push forward toward the problem of the photoplay. Of painting, of drama, and of music we had to speak because with them the photoplay does share certain important conditions and accordingly certain essential forms of rendering the world. Each element of the photoplay is a picture, flat like that which the painter creates, and the pictorial character is fundamental for the art of the film. But surely the photoplay shares many conditions with the drama on the stage. The presentation of conflicting action among men in dramatic scenes is the content, on the stage as on the screen. Our chief claim, however, was that we falsify the meaning of the photoplay if we simply subordinate it to the esthetic conditions of the drama. It is different from mere pictures and it is different from the drama, too, however much relation it has to both. But we come nearer to the understanding of its true position in the esthetic world, if we think at the same time of that other art upon which we touched, the art of the musical tones. They have overcome the outer world and the social world