. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. 218. —DOORWAY TROITZKA MONASTERY, pages 380,388, 390. representing an interior in that early decorated Gothicstyle which preceded the extensive use of such detailsas are illustrated in Fig. 230, page 395, and Fig. 231,page 396. A little later, as originally used, though often, as foundnow, in the same buildings with these conventional forms, REPRESENTA TION OF MA TERIAL SURROUNDINGS. 391 which long continue to be in vogue, come forms that arcdistinctly imitative. Yet, at first,
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. 218. —DOORWAY TROITZKA MONASTERY, pages 380,388, 390. representing an interior in that early decorated Gothicstyle which preceded the extensive use of such detailsas are illustrated in Fig. 230, page 395, and Fig. 231,page 396. A little later, as originally used, though often, as foundnow, in the same buildings with these conventional forms, REPRESENTA TION OF MA TERIAL SURROUNDINGS. 391 which long continue to be in vogue, come forms that arcdistinctly imitative. Yet, at first, the imitation is onlypartial. That is, parts of certain natural forms are copied,but they are not put together as in nature. This fact is. FIG. 219.—INTERIOR OF SAN VITAlE, RAVENNA. See pages 3S0, 390. particularly evident in the representations of livingfigures; and the principle manifested is so universallyexemplified among the architects of all civilized countries,
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