. The Genesis of art-form : an essay in comparative easthetics showing the identity of the sources, methods, and effects of composition in music, poetry, painting, sculpture and architecture . als, in ways accordingwith complement, counteraction, balance, parallelism, andalternation, we have what is understood by the term com-plication. This word, Wkeparallelism, continuity, and manyothers used in art, is borrowed from one indicatingrelationships of lines. It means a folding or blending to-gether primarily of these, but, secondarily, of any , too, it involves, like massing, the
. The Genesis of art-form : an essay in comparative easthetics showing the identity of the sources, methods, and effects of composition in music, poetry, painting, sculpture and architecture . als, in ways accordingwith complement, counteraction, balance, parallelism, andalternation, we have what is understood by the term com-plication. This word, Wkeparallelism, continuity, and manyothers used in art, is borrowed from one indicatingrelationships of lines. It means a folding or blending to-gether primarily of these, but, secondarily, of any , too, it involves, like massing, the presence inlarge quantities of the features to which it is applied. Infact, the greater the number of themes or phrases, say, ina symphony, the more complicated, as a rule, are its move-ments ; and the greater the number of trees or rocks in alandscape, the more complicated, as a rule, are the factorscomposing it. But while this is true, these factors, if complicated inan artistic manner, may always be presented in a certainorder. We shall recognize this by recalling many of thepatterns of our carpets and wall-papers, imitated ormodelled after those of the Orientals. (See Fig. 74, page. 5 « X <N h- r^ ^ ^~^ O liJ a. < o 03O CO I CS 224 ^^^ GENESIS OF ART-FORM. 225, also Fig. 9, page 38). When, says Charles Blanc,in his Art in Ornament and Dress, the surface orna-mented according to Arabian taste has no dominant subjectindicated by its isolation or by its color, the spectatorhas only before him an assemblage regularly confused oftriangles, lozenges, wheels, half-moons, trefoils, imperfectpentagons, and unfinished meanders, which penetrate, in-tersect, balance, and correspond to each other, approachto retreat, and touch one moment to depart the next,and dissolve themselves in a labyrinth without outlet andwithout end. The Arabs have thus realized the strangephenomenon which consists in producing an apparent dis-order by means of the most rigid order. If we allow any single
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