. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. ther the at-tempted effect is a success in this particular case may bedoubted. But effects analogous to it are often greatlypraised. Let us look at these Arab horsemen of Fro-mentin, says Van Dyke in his How to Judge of aPicture. The horse of this falcon flier going at fullspeed has been criticised, because, forsooth, the body istoo long and the hindquarters are stretched out behindinstead of being compactly knit together. . Butstand back and see the effect of the whole. Is not themotion, the l
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. ther the at-tempted effect is a success in this particular case may bedoubted. But effects analogous to it are often greatlypraised. Let us look at these Arab horsemen of Fro-mentin, says Van Dyke in his How to Judge of aPicture. The horse of this falcon flier going at fullspeed has been criticised, because, forsooth, the body istoo long and the hindquarters are stretched out behindinstead of being compactly knit together. . Butstand back and see the effect of the whole. Is not themotion, the life, the fire, the dash superb ? Could any-thing give us a better impression of the swiftness offlight. The desire to convey this impression of movement withits associated ideas of life and force largely accounts for J^EPRESKXTA7^/0X OF MATERIAL APPEARAXCES. 3OI the apparent lack of accuracy, and sometimes unmistak-able exaggeration in the works of such an artist as MichaelAngelo (see Fig. i 70, page 301), as well as for this and alsofor what seenis to be a lack of distinctness in the paint-. FIQ. 170.—TOMB OF GIULIANO DE MEDICI WITH FIGURES OF DAY AND NIQHT. pages 50, 301, 302. ings of Blake, Millet, Diaz, Corot, and Daubigny. AsVan Dyke says: It is the attempt of every true artist topaint not reality, but the appearance of reality. All that has been said of drawing in painting applies tocarving in sculpture. The method of finishing surfaces 302 PAINTING, SCULPTURE, AND ARCHITECTURE. in marble or bronze, whether represented in full or in par-tial relief, is not determined solely by the outlines of theform imitated, but b}- the appearance that it presents,as affected by the play of light and shade upon its surfacesand the suggestions of shape, texture, perspective, life, ormovement necessarily connected with one rather than withanother mode of treatment. It would be dif^cult to findany human forms with muscles actually resembling thosein the figures in Michael Ange
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