one would discover in her eyes, large, protruding and clear, that mirrorless look of polished metals which report not so much the object as the movement of the object.

Robert Zemeckis, a director previously known more for brittle, antihumanistic comedy (Used Cars, Who Framed Roger Rabbit, Death Becomes Her) than heartwarming sentiment, moves into Oscar territory with an accomplished tearjerking comedy (1994) about a slow-witted southerner (Tom Hanks in the title role) living through an alternately auspicious and absurdist half-century of American history.

According to Bray (Life of Stothard, p. 50), the silversmiths Rundell and Bridge displayed a large transparency by Thomas Stothard, painted in thin oils on canvas and lit from behind, in front of their house on Ludgate Hill in honour of the King's Jubilee in 1810.

Nightish folk working their sleepingcity functions in the bright squares of office windows. People untouched by day, smugly snug. You wonder at this darker world of theirs. You grow querulous and bewildered.