proud of; and yet it is doubtful that the stereoscopic picture will bring about any improvement in the artistic composition of the motion picture. Most of us can recall the "stereoscope and views" which we used to find on the center tables of our country aunts. How well we remember the mystifying illusion of depth which was created. How well we remember also that there was the same depth in the reeking stockyards of Kansas City as in the cathedral aisle of Rheims! That illustrates the shortcoming of purely mechanical things in the service of art. The stereoscopic machinery cannot in itself create beauty. It cannot automatically so select trees or distribute people over a landscape that balance and rhythm, unity and emphasis will appear in the finished picture. Unfortunately, for the uninspired artist, the mechanician cannot help him.
It may be asked whether stereoscopic pictures may not be utilized to get sculptural effects upon the screen. The answer is that if a piece of sculpture had to be viewed through a single peep-hole and under an unchanging light it would not really have a sculptural appeal. The characteristic appeal of sculpture is due largely to the fact that it is possible for the beholder to shift his gaze at will from one side of the statue to the other. He even walks around the statue, thus getting ever new aspects of the subject until he has completed the circle of inspection. And this shifting view is governed entirely by his own interest and choice. The sculptor has deliberately shaped his marble so that the many aspects will be interesting variations of the same theme. That many-sidedness of sculpture is one of its distinctive qualities as art.
