1. On historical, archaeological and painterly sources of Intolerance, see: Bernhard Hanson. "D. W. Griffith: Some Sources," TheArtBulletin, 54, no. 4 (Dec. 1972), 498. Also: William · Feaver, an expert in John Martin's art, has shown in some detail the iconographic transforma- tions that Martin's canvas Belshazzar'sFeast had to undergo to become the open-air hall in which this feast in Intolerance is set. (William Feaver, TheArtof JohnMartin [Oxford: Claredon Press, 1975], pp. 56-57).
2. Elizabeth Kendall, WhereSheDanced (New York: Alfred A. Knopf, 1979) p. 120.
3. The poster and photographs from St Denis' ballets Egypta and EgyptianBallet (both 1910) are reproduced in Walter Teny's MissRuth:"TheMoreLivingLife"OfRuthSt.Denis (New York: Dodd, Mead, 1969). 4. Solomon Volkov, St.Peters8urg:A CulturalHistory (New York: Free Press, 1995, p. 345.
5.Pnin (pp. 80-81); Glupishkin - Russian screen name of the French film comedian Andrd Deed. 6. More on this engagement in Richard Buckle, Nijinsky (New York, Simon and Schuster, 1971), pp. 376-77. 7. Vatslav Nijinsky's Diary [DnevnikYatslavaNizhinskogo] (Moscow: "Artist. Rezhisser. Teatr," 1995, p. 40
8. Charlie Chaplin. MyAutobiography (New York: Simon and Schuster, 1964), pp. 191-92.
9. Romola Nijinsky. Nijinsky:HisLife ((New York: Simon and Schuster, 1934), pp. 358-59. 10. Diaghilev was not on that tour-Chaplin's memory must have failed him here, or perhaps what Chaplin learned lather about the BalletRusse slipped the name in. 11. Chaplin, MyAutobiography, pp. 192-93.
12. Ibid., p. 192. � ..... 13.Ibid., p. 193. 14. Jbid.
15. Clare Sheridan, MyAmericanDiary (New York: Bony and Liveright, 1922), pp. 346-47. 16. Elie Faure, Fonctionducinema:Dalacineplastiqueàsondeastinsocial (Paris: Editions Gonthier, 1922), p. 28. I use the translation by Richard Abel for his Frenchfilmtheoryandcriti-cism:Ahistorylanthology1907-1939, vol. 1, p. 262.
17. Louis Delluc, CharlieChaplin (Paris: M. de Brunoff, 1921 ) p. 54.