SNOQUALMIE FALLS-A WASHINGTON POWER STATION FRENCH COLONIAL MOTOR CAR CROSSING A STREAM tries something like a hundred miles away. A scheme is now on foot to harness the Columbia River and to take from it power greater in excess than that generated by Niagara Falls. The States of Oregon and Washington are back of the project, and if the undertaking is put through it will be one of the largest engineering feats of the kind ever undertaken. WHERE BRIDGES ARE SCANTY IN France, a type of car for use in the rough country of the French colonies, where bridges are scanty, has been produced. In addition to an extensive mud-guard, which allows even the wettest roads to be taken, the machine possesses the remarkable property of being, for practical purposes, amphibious, its motor being designed for working under water. All joints, bearings, etc., were, of course, made water-tight. The sparking plugs were fitted with small hoods, and the carburetor and magneto were inserted in hermetically closed casings. On traversing a river the motor breathes, as it were, by means of two vertical tubes. These extension tubes can be fixed in position within five minutes, whenever the motor is to be run submerged. MONROVIA, California, owns a large tract which has been set aside for a public park. It consists of mesa and cañon land on which a good deal of clearing will have to be done. The Park Commission, feeling that this growing city had enough on its hands to do in other enterprises, called for volunteer labor to get things started. Everyone in the town who could, responded-lawyers, bankers, doctors, ministers. Even the grammar-school boys asked to be allowed to do their part. After this hearty response the Commission at once set about the classification of the work, appointing committees for each branch of the undertaking. They went over the ground carefully; selected a plot of ten acres to be cleared, and arranged for a trail to be cut from the "forks" in the cañon to the mesa and a "switchback" trail from the mesa to Monrovia Peak and the Pines. A swimming tank was also staked out. W. N. MONROE, FOUNDER OF MONROVIA FELLING A CHIMNEY WITH FIRE WHEN constructed, in 1886, this chim ney, which stood at Plattsmouth, Nebraska, was one hundred feet tall, contained sixty thousand brick, and cost one thousand dollars to build. It was determined a short time since to wreck the structure for the salvage of the brick it contained. The contractor on the job removed brick from one side, a little at a time, replacing it with oil-soaked pine, until he had cut the structure more than halfway off. Then he built a fire at the bottom of the chimney, leaving a small hole for draft, which caused the flames to eat rapidly into the oil-soaked pine. This soon burned away, allowing the structure THE EVOLUTION OF A SKYSCRAPER THIS monument to the ingenuity of man represents the last word in heaven-towering structures. On the opposite page the building is shown in its artistic setting. Cathedral-like in its magnificence, it looms through the branches of ancient elms which stood there long before Manhattan's loftiest structures were even as high as the old Post Office Building which is shown. to the left. The Woolworth Building is marked by its architectural design and its engineering achievements. The hugeness and completeness of the former demonstrate that the builders considered more than the commercial utility of the building. The vertical lines have been modified with Gothic arches and peaks, thereby giving the effect of an even greater height. The finished building meets the requirements of the most exacting and active business community in the world, the center of financial operations, at the same time ranking among the foremost architectural masterpieces on American continent. the FOUR STAGES IN THE CONSTRUCTION OF NEW YORK'S FIFTY-FIVE STORY SKYSCRAPER. THE WOOLWORTH BUILDING A SCENE FROM "JOSEPH AND HIS BRETHREN" IN WHICH A SUNLIGHT UNKNOWN TO NATURE AIDS THE ACTION IN "GETTING ACROSS" THE LATEST STAGE REALISM By E. L. FARWELL N dark silhouette against the vast spaces of tropical night, the corner of the tomb of Cheops shoulders into the picture. It is framed and placed on the stage of one of the largest theatres in New York-a huge stage on which has been achieved the effect of great sky space. True as to tropical skies, the property stars seem very close to the earth, glowing, apt, you imagine, to fall at any moment. You see a night of exquisite beauty, a wide sweep of purplish sky, an illusion that makes you think you are gazing down the vista of the stars far out beyond the desert's rim to the horizon. Then, in the course of the dramatic action, there issues from behind the pyramid a wailing, an eery sound, the strained cries of a woman in pain-Zuleika, the temptress, is being blinded with hot irons. And then the moon rises, a yellow, heatswollen moon, edging its way up the sky, half-hidden by the wall of the great pyramid, rising and always growing as it rises, it mounts majestically into the purple night. The curtain falls. Lights flash up around the theatre. A confusion of voices arises. "What a wonderful moon," you hear them say. "I never saw anything like it. It was so true, so real. Why it even had its shadows!" "Yes," agrees some one else. "Nothing like the moons you generally see on the stage. I could have sworn it was the real thing. And did you see it rise? never saw a moon rise in a theatre before." I Nor did any one else, until a wave of realism, long-growing, reached its crest in the present theatrical season. For years the tendency has been toward realism. It began in Daly's old theatre when a door that actually opened was constructed. That was a long time ago. Today the theatrical producer must not only have his doors open and present the common-place details of civilization, but he must also reproduce nature as realistically as possible. Let me explain how they did it with this real moon in "Joseph and His Brethren". Up in the scenic department of the Century Theatre, they have a master electrician Benjamin Bierwald, by name-who has planned the effects for the costliest and most elaborate spectacles that New York has ever seen. In "The |