Here the Olympians and the Muses, with a grace that we fancy was Greek, lead a dance that traces the story of the spring, summer, and autumn of life.

Finally the supple dancers turn gray and old and die, but not before they have given us a vision from the Ionian islands.

The play might have been inspired from reading Keats' Lamia, but is probably derived from the work of Isadora Duncan.

This chapter has hereafter only a passing word or two on literal sculptural effects.

It has more in mind the carver's attitude toward all that passes before the eye.
The sculptor George Gray Barnard is responsible for none of the views in this discourse, but he has talked to me at length about his sense of discovery in watching the most ordinary motion pictures, and his delight in following them with their endless combinations of masses and flowing surfaces.
The little far-away people on the old-fashioned speaking stage do not appeal to the plastic sense in this way.