. The Genesis of art-form : an essay in comparative easthetics showing the identity of the sources, methods, and effects of composition in music, poetry, painting, sculpture and architecture . veal that the melodies move above,below, and about one another with effects correspondingexactly to those of lines twisting and intersecting in coi>i- 234 THE GENESIS OE ART-FORM. plication. At the same time, as the laws of harmonyare understood to-day, unless, in the greater number of the parts of a compo-sition, some theme isdeveloped with sucha consistent and con-secutive flow of notesand chords th
. The Genesis of art-form : an essay in comparative easthetics showing the identity of the sources, methods, and effects of composition in music, poetry, painting, sculpture and architecture . veal that the melodies move above,below, and about one another with effects correspondingexactly to those of lines twisting and intersecting in coi>i- 234 THE GENESIS OE ART-FORM. plication. At the same time, as the laws of harmonyare understood to-day, unless, in the greater number of the parts of a compo-sition, some theme isdeveloped with sucha consistent and con-secutive flow of notesand chords that theyfulfil the requirementsof what has here beentermed continuity, theproduct is not anartistic success. Likean oration devoid ofdrift, it fails to en-chaiii the attention. All these methodshave a place in the,arts appealing to theeye. Reference hasbeen made already toeffects of i)itcrspc7sion,W popularly called thepicturesque, producedin painting by a scat-tering of hills and\ales, trees and plains,rocks and flowers, landand water, light andshade, and colors ofall possible Landscape with Water, Fig. 73, page 223,illustrates this effect as applied to the use of FIG. OF ST. LOO CATHEDRALFRANCE. » See page 240. INTERSPERSION, COAIFLICA IVOxV, COiYTINUITY. As applied to that ofcolor, it cannot well beillustrated, of course,in pages where thereis no color; but it canbe represented suffi-ciently to imaginationby recalling the fa-miliar effect termedcheckered, whetherproduced by differentdyes in fabrics, or bysunshine and shadowin external i)iterspcrsioiiand couLplicatioJi, butmainly the latter, areapparent in the out-lines of arms and limbsin the Descent fromthe Cross, Fig. i6,page 73, and in the Laocoon, Fig. 75,page 226. As mani-fested in a buildingas a whole, inter-spersion was suffici-ently exemplified in Fi g- /- page 221, already noticed. Butin architecture, andin sculpture as anieans of ornament-
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