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Updated: May 21, 2025
He wrought the whole statue in harmony with that small part of it which he leaves to the spectator's imagination, and if he had erred at any point, the miracle would have been a failure; so that, working in marble, he has positively reached a degree of excellence above the capability of marble, sculpturing his highest touches upon air and duskiness. Mr.
Art does not go far when it stops short at the revelation of the felicitous powers of the artist; and it is not altogether right when it tends to beguile sympathy with an unworthy object and perplex a spectator's perceptions as to good and evil. Genevieve Ward's performance of Stephanie, brilliant though it was, did not redeem the character from its bleak exile from human sympathy.
Most scene-painters owe their success entirely to the spectator's ignorance of the arts of design; I have often seen a whole pit enchanted with a decoration from which the eye of skill must have turned away with disgust, and in whose place a plain green wall would have been infinitely better.
Who does not feel that Philip the Fourth is present on the Velasquez canvas; where else could one find him so alive? If the work is artistic, the spectator's interest will center in feeling the life in the color and line or sculptured form; that it happens to be an imitation of something else will become of secondary importance.
Sansome was a slender, languid, bored, quiet sort of person, exceedingly well dressed in the height of fashion, speaking with a slight, well-bred drawl, given to looking rather superciliously from beneath his fine eyelashes, almost too good looking. He liked, or pretended he liked, to view life from the discriminating spectator's standpoint; and remained unstirred by stirring events.
In The Tempest the poet employs a form of opening which otherwise he reserves for tragedies. The first scene is simply an animated tableau, calculated to arrest the spectator's attention, without conveying to him any knowledge either of situation or character. Such gleams of character as do, in fact, appear in the dialogue, are scarcely perceived in the hurly-burly of the storm.
At the first drawing up of the curtain the spectator's attention is almost unavoidably distracted by external circumstances, his interest has not yet been excited; and this is precisely the time chosen by the poet to exact from him an earnest of undivided attention to a dry explanation, a demand which he can hardly be supposed ready to meet.
Which may serve as my reply to any objection here breaking out on the ground that if a spectator's languors are evidence, of a sort, about that personage, they are scarce evident about the case before him, at least if the case be important.
It was determined that an attempt should be made to demonstrate his mediumship by the table tilting process then coming into vogue among spiritists, and the result exceeded all expectations. The table, according to an eye-witness of the first séance, not only moved without physical contact, but on request turned itself upside down, and overcame a spectator's efforts to prevent its motion.
In all the aspects of Niagara there seems a grave simplicity, which is perhaps a reflection of the spectator's soul for once utterly dismantled of affectation and convention. In the vulgar reaction from this, you are of course as trivial, if you like, at Niagara, as anywhere.
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