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THE NOVEL AND THE SCREEN The Ally of the Screen The book and the photoplay are so closely allied and so attuned to each other now that what touches one is almost certain to touch the other. Both have the same missions to perform. Both are entertaining and both are instructive. Each opens a new land and new world for him who will stop to read and to look. Out of use of the two is imagination spurred and the world made to progress. It has long been known how motion pictures have spurred reading, and it is also true that read- ing encourages motion picture fans to see the picturized versions of their favorite stories. Li- brarians prepare, In many cases, to meet the de- mands for books weeks in advance of the coming of a picture. Lovers of good books are lovers of good pic- tures, and lovers of good pictures are lovers of good books. It behooves all those interested in pictures and in books, therefore, to work together that the best of each may always be in demand. Just as an indication of how close the relation- ship 1s between books and motion pictures, and as a compliment to the authors, book lovers, and particularly the librarians of this country who have helped the screen, this booklet is issued. Issued by Motion PicturE Propucers ANnp Distriputors oF AMERICA, INc. Will H. Hays, Pres. 469 Fifth Ave., New York City I The Novel on the Screen Some freshly returned trav- eler, still a thrill with the glories of the Louvre and the glamours of the Boulevards which George Moore so neatly painted in his “Confessions of a Young Man” and Carl Van Vechten so admir- ably imitated in his “Peter Whitf- fle,’ has spoken of Paris as the place to which “all good Amer- icans go when they die.” In the same manner of speaking and in the same mood may we not recall “Ben-Hur” and ‘“Romola” and the picturized versions of Sabatini’s effusions and say of the motion picture that it is the place to which “all good books go when they grow up’? MOVIES LEAN ON BOOKS Surely it is, that on the book —the novel and the short story —the motion picture must and does lean heaviest for its sup- port. Indeed, on these two vir- tually synonymous forms of ex- pression, and on the speaking stage, the motion picture, for the present at least, is more or less dependent. A few original stories are being written for the screen. (An attraction like “The Big Parade,” which is at this time drawing throngs, comes fresh from the pen of a writer like Laurence Stallings, for instance.) Still, on the whole and in the main, it is to the book and to the play, that the cinema at present looks for its chief raw product—the story. This condition persists in spite of the glaring fact that all the world is writing for the movies, lustily and inordinately, and is flooding the offices of the scenario editors of the producing companies at the rate of one hundred thousand manu- scripts a Oe at of these many that are submitted by untrained writers, a paltry three or four are being chosen for screen presenta- tion, while the other seven hundred or so come from books and plays or from the pens of distinguished liter- ary figures in or out of the industry who collaborate with the producers on pre- discussed themes or who have stories at once adapt- able to the screen. The time may come when the motion picture will be supplied with a sufficient number of worthwhile original manuscripts to be self-supporting, but for the present the book must play a major role in supplying the mo- tion picture industry with its plot material. THE NOVEL AND THE SCREEN Il The Advantages of Publication The advantages of producing screen plays from books and plays of the stage are of course both numerous and important. First of all the publicity a book or a play gets and the backing it draws from those who read, are tremendously important to on the other hand, denotes a measure of careful prepa- ration which serves at once as an introduction and rec- ommendation to editors of scenario departments. PLAGIARISM motion pictures, in that they as- M{ Thirdly, there is the problem sure a certain financial success which an untried production might or might not attain. When the cost of picture making is considered and the amount of capital invested is computed, it is easily seen why this calcula- tion is of importance. WRITING FOR THE SCREEN Then, besides, the very hah rine of a book or play indicates that at least the germ of a thoughtful idea is contained therein, and that a trained mind has been in- volved somewhere or other. Too often are scripts dashed off for the screen by am- bitious but untalented writ- ers during lunch periods, and sent away to editors with only the inherent be- lief of every mortal that he can write for the movies to justify the investment in postage stamps which pay for its passage. Publication of plagiarism, always a danger- ous and delicate matter, which has to be considered by every producer. Unconsciously and with no thought of dishonesty perhaps, we often present half remembered impressions as new thoughts, forgetting where we first gained them. Practically every author is guilty of such derelictions at one time or an- other. In many instances, simple thoughtlessness rather than any desire to do an underhand trick impels the plagiarist. But whether a man means a thing or not there is often a legal objec- tion to it. Thus it is° when stories which are not copy- righted and which may closely resemble other stories already in process of preparation or which are being considered, are: submitted to producers and are declined, there sometimes goes up a cry of plagiarism, and the company is accused immediately of a distasteful offense. There y THE NOVEL AND THE SCREEN - are so few basic plots in exist- ence that almost any two stories *may be pointed out as funda- mentally alike. And so the com- pany suffers the mortification of ?a suit, perhaps—a suit involving ? % a few thousand dollars for rights to a play in which millions have been invested — and the loss of a valuable friendship as well. All of which makes the publish- ing of books and stories first and the transference to the screen afterwards at least worthy of serious consideration. Many times, of course— and this will be increasingly true, or it should be in an age developing with the motion picture—there are originals with such fresh- ness of idea that direct adaptation to the screen is possible and advisable even though the author is not stylist enough for publica- tion. And it is to be hoped that the years will bring more and more such stories to take their place beside the stories that rest be- tween the covers of books. il The Book and the Play Ae the two forms of expres- sion, the play and the book, the motion picture resembles far more closely the book. A play has its meaning chiefly in words, and its action is confined to three or four scenes or divisible acts. Flashbacks are seldom possible—certainly not in well constructed plays—and flights of imagination must be toned down to meet the possibilities of stagecraft. True, hundreds of pictures have been made from plays among them “Peter Pan,” “A Kiss for Cinderella,” “Light- AT nin’” (this was later in novel form, too, I believe) all the other John Golden successes, “The or Merry Widow,” “Seven Keys to Baldpate” and many, many more that were excellently adapted, but on the whole the novel is more nearly kin or like the mo- tion picture than the play. | It follows necessarily, that some writings lend themselves more easily to the needs of the screen than do others, the mo- tion picture being objective in the sense that it belongs not to the consciousness or perceiving or thinking subject, but to what is presented to this subject. hat is, it is external and is not concerned with what goes on in- side the mind of the character portrayed. It has only actions to THE NOVEL AND THE SCREEN vo on, whereas so much of our great writing is subjective, in- trospective—after the manner of Sherwood Anderson, James Branch Cabell, Theodore Dreiser, and the most of the moderns. The writings of Conrad should and have made good pictures. Conrad and the motion picture have exactly the same approach. He felt that the author must not know anything more about a character than the reader does, and that both must judge him from his acts alone. He con- tended, and throughout his writ- ings, clung to the theory, that no one should seek to know what goes on within the mind of a character. IV The Librarian’s Story In taking its meed of benefits from the novel and the play, the motion picture has not been self- ish altogether, but has repaid the novel in kind. Ask any li- brarian what the effect of mo- tion pictures is on reading and the librarian will tell you that the advent of a picture made from a book increases over- whelmingly the demand for that book. And not only the demand for that book but for all other books by the same author and for contemporary books which have a bearing on the subject. Alert librarians watch the an- nouncement of coming pictures and buy their books accordingly, and thus the book publisher is helped—if his special motion picture editions didn’t already prove it—and so on back to the author. BOOK-MARKS Lately there has developed a plan of issuing book-marks in Libraries coincident with the coming of a great picture so that readers may be properly guided in their quest for the right kind of books bearing on the subject. This plan was launched by Miss Marilla W. Freeman, of the Cleveland Public Library, who has been enthusiastic and help- ful in corelating the book and the screen for several years. This avid reading is not confined to the best sellers by any means but opens up new fields for readers and brings them into contact with tried and true volumes which ordinarily would be laid away for only the stu- dent to know. Here is a contribution of the motion ¢ THE NOVEL AND THE SCREEN picture not to be too lightly regarded. Unfortunately an unwarranted and entirely groundless stigma often attaches itself to those books to which the world had ap- | plied the title ‘classics,’ and that stigma is the stigma of dullness. For some reason, peo- ple are prone to look on a book which bears the name of a ven- erated author as dreary reading, as something that one is sup- posed to wade through because one simply must and not because there may be some real, secret reason to explain why the book has survived while a thousand of its contemporaries have been consigned to the limbo of for- gotten things. HOW PICTURES HELP This aversion emanates from our schools largely, where the so- called classics are retained as a part of the reading courses. As children we begin to look on Dickens and George Eliot and Jane Austen and Scott, as tire- some, dreary old writers of text books, and we read them under duress, as it were, retaining, un- consciously, the impression that these great men and women were writers of books to harass the young. Many of us never get over this feeling, and we go through life missing some of the greatest joy and happiness that and happiness that lie in good books. It is in the scattering of this false belief and in the awakening of the conscious- ness of men to the fact that because a book is a classic it is not necessarily a tire- some book, but on the other hand is a classic because it is a very interesting and di- verting book, that the mo- tion picture has played so great and so prominent a part for good. THE CLASSICS The motion picture, in turning often to the classics for its ma- terial, has told so entertainingly the stories involved that hun- dreds and thousands have been sent to the classics to find out if such a story is the story told there. To the surprise and as- suredly to the joy of these aroused minds, the classics are revealed in entirely new lights. For the first time people have begun to look on them as real books and to realize that just be- cause the dust of a few centuries has gathered on the covers there is no reason why the contents shouldn’t be fresh and palatable. Once convinced that the title “classic” is a compliment and not a subtle thrust, the reader is admitted to a new realm of reading through which he may browse with infinite relish for is allotted to humanity—the joy | the rest of his time. 4 THE NOVEL AND THE SCREEN Already many of the so-called classics have reached the screen, though the surface has not been scratched. Remember the mo- tion picture is young yet, and there is time ahead for the film- ing of many of the great books which have come to us as price- less heritages from the masters of song and story. AN ELIOT BOOK Not long ago ‘“Romola’’ was converted to the pictures. Lillian Gish and her sister Dorothy went to Italy to make the scenes on the identical spots in which George Eliot laid her great story. The picture, regarded by many critics as a masterpiece, followed as faithfully as was possible the text of the novel and librarians in many cities have remarked how tremendous- ly more popular have been the works of Eliot during and since the showing of the picture. It is true, we are informed by librarians, that pictures like this spur reading not only of the book produced into a picture, but of all other books of the author. and moreover of contempo- rary literature. A HUMOROUS SIDE Sometimes the adaptation of pictures from famous novels has its humorous sides. For in- instance, not long ago in one of the larger cities, two women, friends and neighbors of long standing, met in the circulation department of a Carnegie L1- brary. One had a book under her arm and she was about to depart with it when her friend approached her and, as we ail do in libraries, peered at the selected volume. “What are you reading?” she asked. “Why, I thought I’d read Dr. Jekyl and Mr. Hyde,” replied her friend, “it ought to be splendid.” The other woman nodded agreement. “Ves, I saw the picture, too,” she declared, “but I declare I didn’t know it had been made into a book.” While this may be a doubtful compliment for Mr. Robert Louis Stevenson, it is certainly a sly one for Mr. John Barrymore. V The Prevalent Book There are in existence today, and the pile is being added to constantly, certain books and plays which the world dismisses eventually as pornographic writ- ings. That is, there are books. and plays which make their play for fame in terms of obscenity and lewdness, and which boldly flaunt their wares under the sacred name of realistic litera- ture. THE NOVEL AND THE SCREEN Whether a great many of these books and plays are literature or not, the motion picture industry has no right to say and certainly cannot be expected to judge of them. Time alone will tell, and time is a harsh critic. Very little gets by time in the long run, and pornographic writing, unless it is literature, seldom sur- vives the age in which it is inscribed. However that may be, the motion picture industry has a definite in- terest involved in such pro- ductions and a definite duty to the patrons as well. THE OBSCENE The matter of obscenity is, first of all, we must remember, subjective. It is something within the mind of man, and is not to be defined in words. There are passages in the Bible, which read on their own account, can- not fail to convey the same meaning that much of the por- nographic literature conveys. Shakespeare certainly used words and_ situations which could hardly be glossed over, while Boccaccio and many other of the great writers whose works have refused to die, have employed themes which might easily be confused with some of our better known _ parlor-bed- room and bath episodes of the year nineteen hundred and twenty-six. To one generation a thing may be obscene and to another ludicrous, and to a third commonplace. Words familiarly spoken in Shakespeare’s day might easily bring the blush to our cheeks today, while to the generations to come they may be ordinary vehicles of expres- sion. THE PICTURES’ PART It is impossible, therefore, to determine just what is real and what is not, and it is not the motion picture’s duty to try even to do this. Its concern is in an- other direction. We will all agree that a book that you and I, as adults, may well read and enjoy—a book that has dubious situations and words, perhaps, but which will not affect us in any wrongful fashion—may be _ altogether wrong for someone else with a different background and a dif- ferent understanding. We may view the form of a nude figure — you and I— and be uplifted by it, inspired and made better men and women, while to the man with whom we are rubbing elbows, it may convey another and altogether distorted mean- ing. Especially is this true of the young; and here is the mo- tion picture’s concern with such books and plays. There are, roughly speak- ing, twenty million people going to the motion picture theatres in this country every day of the year. More than three-fourths of these are adults, for whom pictures are primarily pro- duced. Every class, every THE NOVEL AND THE SCREEN degree of intelligence is in- volved in that host. And to these the motion picture in- dustry is beholden and re- sponsible. Therefore books and _ plays, which in themselves may not be harmful to me or to you, some- times must be kept from the screen to protect these other millions. The producers know this and they are willing and anxious to meet the situation. And they have, in a very satis- factory, commonsense, and log- ical manner. THE FORMULA Something more than a year ago the members of the Motion Picture Producers and Distrib- utors of America, Inc., of which Will H. Hays is_ president, met and discussed the matter and out of their conferences de- veloped a formula which has worked magically in bringing about the results desired. These producers volun- tarily agreed that they would do all within their power to prevent the preva- lent type of book and play— that is, the salacious, or the licentious —from reaching the screen. To do this they agreed that whenever a book or play was offered for the screen, which, in the opinion of the producer was not the type suited to the best interests of the twenty millions who daily patronize the theatres, that book or play should be sent to Mr. Hays’ office for a reading. If the same opinion should prevail there, then all the 10 companies belonging to the association—and these rep- resent 85 per cent of all the pictures produced — should have the privilege of refus- ing the rights to the prof- fered story. Last year 166 books and plays fell into this class and conse- quently were not filmed. No re- flections were cast on the books or plays, as books and plays, by these actions, but their use as motion pictures was alone in- volved. CRITICISM There has been criticism of this procedure by those sciolists who cling tenaciously to the old ery of “art for vart’s ssakew These are they who would have all pictures cast in the mould of the _ so-called mod- ern school of literary thought. But the millions of clean living, wholesome men and women who make up the backbone of this nation as they always have and always will, are not however, of the same mind. They feel, and rightly, that there are certain problems which are true, of course, and a part of life, but which can just as well be over- looked and forgotten in public discussion, and so long as this opinion prevails, as it will always prevail, the motion picture pro- ducers are going to cling to their formula and see to it that the prevalent type of book and play —not the real, nor the most ex- tensive product perhaps, but the frothy kind that flares up and dies — does not become the prevalent type of motion pic- ture. Tea in the parlor is just as realistic as pot-liquor in the kitchen—in our view. THE NOVEL AND THE SCREEN VI Writing the Scenario In bringing a book to the screen, especially under the in- eluctable clauses of the formula which now governs the indus- try’s attitude toward adaptable material, the producer is com- pelled to build for himself a solid and substantial machine through which to sift the chaff and retain the flour of plots. He must, first of all, have trained readers in whom he has perfect confidence and on whom he may rely for sound literary judg- ments. These men and women, by very nature of their employ- ment, must necessarily be cul- tured, educated and of schol- astic attainments, and, as would be suspected, they represent, in most cases, graduates of our universities and of our colleges. They hold the same _ position, relatively speaking, that readers in publishing houses hold and the same responsibilities for dis- crimination rests upon them. MOVIE RIGHTS So desirous are publishers of disposing of the motion picture rights to their forthcoming books and plays that they often submit copies of their product in proof-form, and many times the authors themselves’ send their manuscripts to the pro- ducers of pictures before the typewritten sheets have been put into printers’ hands and molded to page form. If the involved book is read and is approved and if it is one of those books to which objections could not justly be raised, the reader submits his recommenda- tions accordingly, after which other readers express their views and give voice to their judgments before the final decision is reached by the producer and his board. If, on the other hand, objectonable features are contained, then the book is sent to the Hays’ office, as has been suggested, and there placed in the hands of more trained readers who go over it with an eye made more critical by the very fact that it has been sub- mitted to the association for a reading. Once a book or play has been accepted and has been discussed in its relation to motion picture possibilities—it must be remem- bered always that the two forms, the book and the picture, are distinct and separate—it is placed in the hands of the sce- narlo writer and translated into motion picture language. That is, it is turned into a scenario. DETAILS NEEDED Each scene must be worked out in minute detail, directions given, and titles written. A good scenario writer goes over the book until the book is known to him in every detail. The scenario writer begins to think and to live in the spirit of the THE NOVEL AND THE SCREEN thing, and out of this gradually evolves the script which goes to the director for use on location and in the studio. Continuity writing is highly technical and calls for practical knowledge of motion picture conditions, possibilities, and me- chanics, as well as for dramatic and literary ability. Each scene must be written and numbered. Every detail of the scene must be planned. All titles and sub- titles must be arranged for so that at the conclusion the book is changed into a series of epi- sodes which interpret the book in terms of dramatic art. With these the director must be fa- miliar. The actors must study and train themselves for the cor- rect interpretation of their parts. THE TAKING OF SCENES It must be remembered that, in the studio, scene nineteen may be taken and followed im- mediately by scene two hundred and nineteen or some other such number. An expensive set is constructed in which scenes in the first of the play and in the last occur. Naturally it would be wasteful and idiotic to take the first scene, tear down the set, take another, build the same set again and so continue the story. Instead the _ director must make his scenes in the order which best suits his sets, and for this reason, if for no other, the scenario writer’s con- tinuity work must be perfect. RESEARCH WORK After the scenario has been written and plans have developed for the produc- tion, often it is necessary, especially in the production of plays from the older books, to do a great deal of research work in order that the settings and costumes and backgrounds may be accurately brought to the screen. Book readers are harsh critics. The smallest details do not escape atten- tion, and the = slightest screen error becomes mag- nified in the eyes of one who has read and loved a de- scription in some book. For that reason each studio must have its staff of re- searchers who delve into periods and extract such intimate details as the length of some Louis’ wine glasses or the shape of some Marie Antoinette’s fan or the girth of some Henry’s waist. Vil Research Work and Libraries Formerly, before the motion picture industry really became a settled business, there arose frequent confusions in matters of such a nature. The public libraries were being scoured by everybody from the director to the twenty-ninth trainbearer to THE NOVEL AND THE SCREEN some obscure monarch, with the inevitable result that librarians were turning gray at forty and sent home at night too nerve- wracked and wearied for sleep. This is now changed, however, and system has succeeded the chaotic con- ditions of a few years ago. In the Los Angeles Public Library, for example, which is used extensively by the studios of the Pacific Coast, research work is made most productive of results. Sev- eral years ago a course of twelve lectures covering the reference material was in- augurated by the library school and the principal of the art department, Miss Gladys Caldwell. Since then a picture collection has been added and is growing so rapidly that it is about to become the tail that wags the dog, to quote Miss Cald- well herself. While the libraries are thus marshalling their forces to aid in the proper translation of the book to the screen, the produc- ers have added their own re- search departments. One studio now has 3,000 books and bound magazines, Miss Caldwell re- ported not long ago, and in ad- dition possesses thousands of clippings, photographs and pam- phlets. These studio reference rooms and these libraries are feeding grounds for fact-hungry sce- nario writers and directors, and in them may be found the Francis Marions, the Jeanie Mc- Phersons, the Charles Kenyons and the others, whose adapta- tions are known the world over, seeking just the right fact for the right place in the right scene. Vill The Scenario Writers These scenario writers, whose names we see for fleeting sec- onds on the screen, must go ‘through rigid training in pro- ducing their screen stories. Mo- tion pictures provide a new form of expression far removed from that of the stage and those who write for it are pioneers with no Euripides, no Shakespeares, no Marlowes, no strolling players, no Ibsens, and no Shaws behind them, along whose broad paths of thought and experience they may march. They must go 13 alone as it were, and the suc- cess which comes is the success of the Columbuses, the Pizarros, and the Daniel Boones of the world who blaze their own trails and draw their own maps. Among those men and women whose names are linked irrevoc- ably with the progress of pic- tures are June Mathis who has among her successful adap- tations “The Four Horsemen of the Apocalypse,” the play which introduced Rudolph Valentino to fame; Jeanie THE NOVEL AND THE SCREEN McPherson who, aside from her “Ten Commandments,” has many successful adaptations to her credit; Frances Marion, one of the best known of them all, whose translation of Fannie Hurst’s Humoresque and whose “Abraham Lincoln” and “Potash and Perlmutter” augur well for the success of her “The Scarlet Letter,’ which is to be brought to the screen soon with Lillian Gish as the wearer of Hester Prynne’s mark of shame. GREAT PICTURES Jack Cunningham did “The Covered Wagon” from Emerson Hough’s novel, while Edmund Goulding achieved remarkable success with Joseph MHerges- heimer’s “The Bright Shawl,” and won the Photoplay Maga- zine gold medal for that year with the same author’s ‘“Tol’- able David.” Jean Hovez gave us “Grandma’s Boy” and “Dr. Jack”; Agnes Johnson adapted Mary Roberts Reinhart’s “Twenty Three and a Half Hours Leave” and “Daddy Long Legs,” and the list is not begun. ONE REPORT Recent reports from the New Jersey Public Library Commission definitely gives credit for the tremendous increase in reading in that state to the motion picture and the radio. “It is ex- plained,” the report reads, “that the productions of the screen suggest new lines of thought, stimulate inter- ests in new nations, and bring into prominence and favor many of the classics, hence a desire for reading is thereby increased.” “In 1924,” the report con- tinues, “there was a steady gain over the preceding year in calls for library books in New Jersey. More books were borrowed for study than ever before, the number so loaned showing an increase of 34,000 over that of the previous year. There was a demand for books of higher standard than formerly. Their great- est demand was for histor- ical novels.” This is but an additional proof of the value of the screen in ad- vancing the thought of the coun- try, and only goes to show how the motion picture is doing its work not only as an educator in itself, but as a stimulus to edu- cation and thought on a higher plane. Here are a few pictures which have been made from books! “The Man Without a Country,” by Edward Everett Hale; “Madame Sans-Gene,” by Vic- IX 4yvA Few Books in the Movies 14 torian Sardou; ‘Pere Goriot,” by Honore Balzac; ‘Don Juan,” based on Lord Byron’s poem of the Spanish literary figure; “Quo Vadis,” by Henry Sienkie- THE NOVEL AND THE SCREEN wicz: Du Mauriers ‘Trilby”, Hawthorne’s “The Scarlet Let- ter,’ which is Lillian Gish’s forthcoming production; “The Hunchback of Notre Dame” and “Les Miserables,” by Victor Hugo; Selma Lagerlof’s “The Emperor of Portugalia,” known on the screen as ‘“‘The Tower of Presse. Gonrad se slords Jlmae Scott’s “Ivanhoe”; Kipling’s “UsGneah eherel Se AMaver MD Fedany ANaehe Failed’”—‘‘Kim” is now being made—Dicken’s “‘A Tale of Two Cities,” “Oliver Twist,” “David Copperfield,” “The Old Curiosity Shop”; and Ibanez, “The Four Horsemen of the Apocalypse” ; and Sabatini’s “Scaramouche.” Among other books on the screen now are “Tol’able David”’ and “The Bright Shawl,” by Joseph Hergesheimer; ‘The Spoilers,” “The Ne’er-do-well,” and “The Auction Block,” by Rex Beach; ‘“‘Clarence,” “‘Seventeen,”’ “Alice Adams,” “Penrod,” “The Fighting Coward,” by Booth Tar- kington—the last named was Magnolia on the stage—‘‘Main Street” and “Babbitt” have been made from Sinclair Lewis’ no- table works; Edna Ferber’s ‘So Big’; Owen Johnson’s ‘Blue Blood’; Laurence Stallings’ “Plumes”; Coningsby Dawson “The Coast of Folly’; Peter B. Kyne’s “Never the Twain Shall Meet”; Emerson Hough’s “The Covered Wagon”; Lew Wallace’s “Ben-Hur”; Zane Grey’s “The Vanishing American’; Harold Bell Wright’s “A Son of His Father’; George Barr Mc- Cutcheon’s ‘“Graustark”; Bar- rie’s “Sentimental Tommy”; Anthony Hope’s “Prisoner of Zenda,” and countless more. From all of this we may gather that the book owes a debt of gratitude to the motion picture just as the motion pic- ture does to the book and that the two together are so closely linked and so closely allied that what affects one is bound to af- fect the other. Lovers of books must through necessity be lov- ers of pictures and lovers of pic- tures must through necessity be lovers of books. i am ink taki 6 heme ow 222606 VvVile vViv7VVU"TV7ZJ U PE vy 30112 TUL