. The æsthetic attitude. , Fig. 22.—Tobias and the Angels, by Botticini, Academy, Florence. LINES EXPRESSIVE OF MOODS 155 pared with that in the former picture where the rest-lessness in the costume is enhanced by cross-stitchtrimming, and four black strings of a necklace crossone another. In the latter picture, on the otherhand, the trimming is very plain and a single cordfalls in a straight line from the neck. Perhaps one of the best examples of calmness,peace, and spiritual mystery as indicated by lines,is the Vision of St. Ursula by Carpaccio in theAcademy in Venice (Fig. 29). A
. The æsthetic attitude. , Fig. 22.—Tobias and the Angels, by Botticini, Academy, Florence. LINES EXPRESSIVE OF MOODS 155 pared with that in the former picture where the rest-lessness in the costume is enhanced by cross-stitchtrimming, and four black strings of a necklace crossone another. In the latter picture, on the otherhand, the trimming is very plain and a single cordfalls in a straight line from the neck. Perhaps one of the best examples of calmness,peace, and spiritual mystery as indicated by lines,is the Vision of St. Ursula by Carpaccio in theAcademy in Venice (Fig. 29). Almost everywherein the picture we move in straight lines which meetat right angles, and thus impede movement; seldomis there a curved line. Even the arm under theSaints head is bent in a right angle at the wrist andagain at the knuckles. The little body is out-stretched under the coverlets with a slight indica-tion of the upturned feet. Fancy the change intone if the bed were in rococo style; if garlandsdecorated the wall; if the l
Size: 1722px × 1451px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1920, bookidstheticattit, bookyear1920
