But let us imagine a production that would chronicle the promise to Abraham, and the vision that came with it.

Let the film show the final gift of Isaac to the aged Sarah, even the boy who is the beginning of a race that shall be as the stars of heaven and the sands of the sea for multitude.

This could be made a pageant of power and glory.
The crowd-emotions, patriotic fires, and religious exaltations on which it turns could be given in noble procession and the tiny fellow on the pillow made the mystic centre of the whole.

The story of the coming of Samuel, the dedicated little prophet, might be told on similar terms.
The real death in the photoplay is the ritualistic death, the real birth is the ritualistic birth, and the cathedral mood of the motion picture which goes with these and is close to these in many of its phases, is an inexhaustible resource.
The film corporations fear religious questions, lest offence be given to this sect or that.

So let such denominations as are in the habit of cooperating, themselves take over this medium, not gingerly, but whole-heartedly, as in mediaeval time the hierarchy strengthened its hold on the people with the marvels of Romanesque and Gothic architecture.
This matter is further discussed in the seventeenth chapter, entitled "Progress and Endowment." But there is a field wherein the commercial man will not be accused of heresy or sacrilege, which builds on ritualistic birth and death and elements akin thereto.