Let the photographer study the flat blacks in the garments.

Let him note the transparent impression of the laces and flesh-tints that seem to be painted on glass, observing especially the crystalline whiteness of the wigs.

Let him inspect also the silhouette-like outlines, noting the courtly self-possession they convey.
Then let the photographer, the producer, and the author, be they one man or six men, stick to this type of picturization through one entire production, till any artist in the audience will say, "This photoplay was painted by a pupil of Gilbert Stuart"; and the layman will say, "It looks like those stately days." And let us not have battle, but a Mount Vernon fireside tale.
Both the Chicago and New York museums contain many phases of one same family group, painted by George de Forest Brush.

There is a touch of the hearthstone priestess about the woman.

The force of sex has turned to the austere comforting passion of motherhood.