International studio . dand fan from oneshoulder to theother, or in theplacing of thehands and thedisposition of thehair. If we wereto take the mainlines of the wholedesign and ab-stract them fromtheir context, as inimagination it isnot so difficult todo, I suppose weshould be antici-pating the Post-Impressionist, andit would not bepossible to denythe music of thelines. But wemaintain that theycould not havebeen planned inthe abstract;for, in the wordsof Spenser, souleis forme, and doththe bodie make. Design cansometimes be stillas well as rhythmic, holding our attention at apoint by the myste
International studio . dand fan from oneshoulder to theother, or in theplacing of thehands and thedisposition of thehair. If we wereto take the mainlines of the wholedesign and ab-stract them fromtheir context, as inimagination it isnot so difficult todo, I suppose weshould be antici-pating the Post-Impressionist, andit would not bepossible to denythe music of thelines. But wemaintain that theycould not havebeen planned inthe abstract;for, in the wordsof Spenser, souleis forme, and doththe bodie make. Design cansometimes be stillas well as rhythmic, holding our attention at apoint by the mystery of something hidden a great work of subjective art the whole canvasseems illuminated from within, nothing appearingon the surface that does not seem like thoughtitself in shape. Why should we wish the art ofI)ainting to take a lower place than this, as it mustif it is only to speak between the artist and thespectator in their vision and not between them intheir thought ? Mr. Fry infers that the intensity of. ARY WATl- (Xalional Gallery of h facial expression in some of the 1S57 water-coloursis a disturbing element in the pattern. But is itnot the flame within the lantern, does it notindicate the place of the heart in the frame of thedesign ? Painting that is truly subjective has alwaysbeen concerned with rendering facial expression—not in the sense ofdramatically re-presenting joy orsorrow, but in thatof reflecting tem-perament, and itis in spite of him-self that the artistsmood burns itsway in the canvas,and the face at lastin the picture isin the profoundestsense his own. Design is alwaysthe language offeeling ratherthan of vision,interpreting thefall of drapery andthe spread oftresses as appre-hended by sym-pathy rather thanby observation—acting, as it were,by a knowledgeobtained in rather thanby a glance. Thisis the key to theunderstanding c)frhythm in thelogic of lines inGreek does notf\vll like th
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