Virginia Woolf enjoyed not only travel writing, but also travel film; her fiction bears traces of her pilgrimages to picture palaces for travel adventures. One of Woolf's first diary comments about film—from January 15, 1915—describes a barge floating through Baghdad (D1, 18-19). Woolf's fascination with travel was not hers alone. As travel took of fin post-World War I Britain, it filled the glossy Nation and Athenaeum Travel Supplement (Summer 1925), Hogarth Press travel books by Vita Sackville-West, and travel advertisements and articles in Vogue. The armchair traveler who sits comfortably in a cushy armchair by the fire or by the window reading of traveler's exploits—or perhaps planning her own—is a familiar image in Woolf's work. Yet, because new windows for travel fantasies opened up in the 1920s, the comfortable chair by the library window was replaced, or at least supplemented, by yet another comfortable chair before a very modern type of window: the plush seat in the modern picture palace. Travel shorts, along with other “actualities” filled British film programmes in the early decades of the twentieth century; Woolf writes of her pleasure in such films as “real” films (as opposed to adaptations or film dramas) in the holograph drafts of her 1926 article on cinema.