. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. s to say, thefirst means of expression, arrangement. In the ancient Greek sculptures, says Long in his Art,its Laws, and the Reasons for Them, a correspondence between the disposition ofthe figure and the sentimentof the subject will alwaysbe found. . Minervasposition being perpendicu-lar and her drapery descend-ing in long uninterruptedlines [Fig. 37, page ]6, alsoFig. 19, page 47], while athousand amorous curvesembrace the limbs of Floraand Venus [see Figs. 38,page JJ; 20, page 48 ; and149, p
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. s to say, thefirst means of expression, arrangement. In the ancient Greek sculptures, says Long in his Art,its Laws, and the Reasons for Them, a correspondence between the disposition ofthe figure and the sentimentof the subject will alwaysbe found. . Minervasposition being perpendicu-lar and her drapery descend-ing in long uninterruptedlines [Fig. 37, page ]6, alsoFig. 19, page 47], while athousand amorous curvesembrace the limbs of Floraand Venus [see Figs. 38,page JJ; 20, page 48 ; and149, page 224], the plain,the simple, the dignified,and the intellectual beingthe sentiment of the one ;the light, the gay, and thesensual the sentiment of theother. And if the senti-ment which animates thembe of a very exciting andpassionate character, the movements become more quickand the forms more angularized —a statement which, aswill be made clear in a moment, includes, as this wordusually does when thus used, more than the mere idea ofangles. It is in obedience to this principle, he goes. FIQ. 37.—ATHENA OF THE pages 76, 224, 281. gradatiox in the outlixes oe shapes. 77 on to say. lliat Raphael acted when, in his cartoon ofTile Delixei}- of the Keys to St. Peter. he empl(i\-ed,as did the scidptor of Minerva, theinfluence of simple forms, , sim-ple as distinguished from mixed, to express and produce the senti-ment of the character introducedand the natural effects of thatscene; and the same too in theAnanias (see Fig. 39, page 79)among the figures distributing andreceiving alms, whilst, in obedienceto this rule, he has resorted to theadverse system of angular forms andabrupt contrasts, /. e., to mixedlines, curved and straight, to por-tray distress and convulsion in thedying man, and astonishment anddismay in the figures that imme-diately surround him. So, too,an application of the same generalprinciples is made in these words ofan unnamed writer quoted by
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