| | FACING PAGE |
| Biograph’s studio, Eleven East Fourteenth Street | [Frontispiece] |
| “Lawrence” Griffith | [6] |
| Linda Arvidson (Mrs. David W. Griffith) | [7] |
| Linda Arvidson (Mrs. Griffith), David W. Griffith and Harry Salter, in “When Knights were Bold” | [22] |
| Marion Davies, Forrest Stanley, Ruth Shepley and Ernest Glendenning in “When Knighthood was in Flower” | [22] |
| Advertising Bulletin for “Balked at the Altar” | [23] |
| Biograph Mutoscope of the murder of Stanford White | [38] |
| The first Biograph Girl, Florence Lawrence, in “The Barbarian” | [39] |
| From “The Politician’s Love Story” | [39] |
| The brilliant social world of early movie days | [54] |
| “Murphy’s,” where members of Biograph’s original stock company consumed hearty breakfasts | [55] |
| From “Edgar Allan Poe” | [70] |
| Herbert Pryor, Linda Griffith, Violet Mersereau and Owen Moore in “The Cricket on the Hearth” | [70] |
| “Little Mary” portraying the type of heroine that won her a legion of admirers | [71] |
| Register of Caudebec Inn at Cuddebackville | [71] |
| Caudebec Inn at Cuddebackville | [86] |
| From “The Mended Lute,” made at Cuddebackville | [86] |
| Frank Powell, Mr. Griffith’s first $10-a-day actor, with Marion Leonard in “Fools of Fate” | [86] |
| Richard Barthelmess with Nazimova in “War Brides” | [87] |
| From “Wark” to “work,” with only the difference of a vowel | [102] |
| Biograph’s one automobile | [102] |
| Annie Lee. From “Enoch Arden,” the first two-reel picture | [103] |
| Jeanie Macpherson, Frank Grandin, Linda Griffith and Wilfred Lucas in “Enoch Arden” | [103] |
| The vessel that was towed from San Pedro. From “Enoch Arden” | [103] |
| The Norwegian’s shack. From “Enoch Arden” | [103] |
| The most artistic fireside glow of the early days | [118] |
| The famous “light effect” | [118] |
| From “The Mills of the Gods” | [119] |
| Biograph’s first Western studio | [119] |
| A desert caravan of the early days | [134] |
| From “The Last Drop of Water,” one of the first two-reelers | [134] |
| Mabel Normand “off duty” | [135] |
| Joe Graybill, Blanche Sweet and Vivian Prescott in “How She Triumphed” | [150] |
| Mack Sennett, Mabel Normand and Fred Mace in a “Keystone Comedy” | [151] |
| 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] |