Lunch on the “lot,” Biograph’s “last word” studio, the second year 151 Mary Pickford as a picturesque Indian 166 The Hollywood Inn, the setting for “The Dutch Gold Mine” 167 From “Comrades,” the first picture directed by Mack Sennett 167 Mary Pickford’s first picture, “The Violin Maker of Cremona” 182 Mary Pickford’s second picture, “The Lonely Villa” 182 Mary Pickford and Mack Sennett in “An Arcadian Maid” 183 Mary Pickford, Mack Sennett, Joe Graybill and Marion Sunshine in “The Italian Barber” 183 Linda Griffith and Mr Mackay in “Mission Bells,” a Kinemacolor picture play 198 A rain effect of early days at Kinemacolor’s Los Angeles studio 199 A corner of Biograph’s stylish Bronx studio 214 The beginning of the Griffith régime at 4500 Sunset Boulevard 215 Blanche Sweet and Kate Bruce in “Judith of Bethulia,” the first four-reel picture directed by D. W. Griffith 230 Lillian Russell and Gaston Bell in a scene illustrative of her beauty lectures, taken in Kinemacolor 231 Sarah Bernhardt, the first “Famous Player” 231 WHEN THE MOVIES WERE YOUNG WHEN THE MOVIES WERE YOUNG CHAPTER I ELEVEN EAST FOURTEENTH STREET Just off Union Square, New York City, there is a stately old brownstone house on which future generations some day may place a tablet to commemorate the place where David W. Griffith and Mary Pickford were first associated with moving pictures. Here has dwelt romance of many colors. A bird of brilliant plumage, so the story goes, first lived in this broad-spreading five-story old brownstone that still stands on Fourteenth Street between Fifth Avenue and Broadway, vibrant with life and the ambitions and endeavors of its present occupants. Although brownstone Manhattan had seen the end of peaceful Dutch ways and the beginning of the present scrambling in the great school of human activity, the first resident of 11 East Fourteenth Street paid no heed--went his independent way. No short-waisted, long and narrow-skirted black frock-coat for him, but a bright blue affair, gold braided and gold buttoned. He was said to be the last man in old Manhattan to put powder in his hair. As he grew older, they say his style of dressing became more fantastic, further and further back he went in fashion’s page, until in his last days knickerbockers with fancy buckles adorned his shrinking limbs, and the powdered hair became a periwig. He became known as “The Last Leaf.”