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Updated: May 2, 2025
This chapter will discuss the bearing of the phrase sculpture-in-motion. It will relate directly to chapter two. First, gentle and kindly reader, let us discuss sculpture in its most literal sense: after that, less realistically, but perhaps more adequately. Let us begin with Annette Kellerman in Neptune's Daughter.
Or it may represent some such conception as Rodin's Hand of God, discussed in the Sculpture-in-motion chapter. It is the last and fittest ornament of the mill-pond. Nothing very terrible can happen with a duck in the foreground. There is no use turning it over. It would take Maeterlinck or Swedenborg to find the mystic meaning of a duck. A duck looks to me like a caricature of an alderman.
This discussion will be resumed on another plane in the eighth chapter: Sculpture-in-Motion. Having read thus far, why not close the book and go round the corner to a photoplay theatre? Give the preference to the cheapest one. The Action Picture will be inevitable.
The Action Pictures are sculpture-in-motion, the Intimate Pictures, paintings-in-motion, the Splendor Pictures, many and diverse. It seems far-fetched, perhaps, to complete the analogy and say they are architecture-in-motion; yet, patient reader, unless I am mistaken, that assumption can be given a value in time without straining your imagination.
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