. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. ignificant, which owes its main interest toits form. Again, who has been more lauded for drawinghis inspiration directly from the appearances of naturethan J. F. Millet? Yet in his picture of A Storm(Fig. 152, page 231) the chief interest is owing not to any-thing that the artist did see or could see in appearancesabout him ; but to the representation of significance sug-gested to him as possible in connection with appearances. These pictures have been chosen for illustration be-cause, in both
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. ignificant, which owes its main interest toits form. Again, who has been more lauded for drawinghis inspiration directly from the appearances of naturethan J. F. Millet? Yet in his picture of A Storm(Fig. 152, page 231) the chief interest is owing not to any-thing that the artist did see or could see in appearancesabout him ; but to the representation of significance sug-gested to him as possible in connection with appearances. These pictures have been chosen for illustration be-cause, in both of them, may be noticed a tendency whichneeds to be developed only slightly in order to revealitself to be clearly detrimental. Owing to his concep-tions of the requirements of form, Rossetti has chosen toignore much that has been supposed to have been learnedsince the Pre-Raphaelite period ; and owing to his concep-tions of the requirements of significance, Millet has chosen *to ignore much that has been supposed to have been learned§ince the period of the early landscape artists. As a C3 tH 2T,2 rAINTING, SCULn^UKE, AND ARCHITECTURE. for a different reason, primarily, both border upon unnatu-ralism, the one because of attention to the particularitiesof form, and consequent emphasis of details, whichcauses a suggestion of stiffness of style ; and the otherbecause of attention to the general effects of significance,and consequent slighting of details, which causes a sug-gestion of looseness of style ; and both of them, butapparently for different reasons, have produced resultssuggesting those characterizing the art of China andJapan. Under these apparently different reasons, how-ever, there is a single reason. This is the failure of bothpainters to give equal attention to the claims of signifi-cance and of form. Rossetti tries to make his picturesignificant through paying attention, primarily, to theparticularities of forms, but these are grouped accordingto a tendenc
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