. 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 . uldbe enough to make an ordi-nary composition sound likea strain from a chorus ofangels. The same principle is notless operative in the arts thatare seen. It explains whyfolds of drapery, or thestraight lines of a girdleband, niche, porch, or pedes-tal increase, as we must oftenhave remarked, the effective-ness of a human figure inconnection with which theyare depicted. Observe, inthe principal form in C
. 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 . uldbe enough to make an ordi-nary composition sound likea strain from a chorus ofangels. The same principle is notless operative in the arts thatare seen. It explains whyfolds of drapery, or thestraight lines of a girdleband, niche, porch, or pedes-tal increase, as we must oftenhave remarked, the effective-ness of a human figure inconnection with which theyare depicted. Observe, inthe principal form in Ch-romes Pollice Verso, Fig. VARIETY AND CONTRAST. 3J 26, page 81, the contrast between the bare flesh andthe hehnet and other maihng; also how much, even asrepresented here in outHne, the sHght band over theshoulder of the Eros of the British Museum, Fig. 7, page30 adds to the general charm of the whole. Notice, too,how much would be lacking to the effect of Claudes Even-ing, Fig. 40, page 119, as well as of Turners Decline ofCarthage, Fig. 51, page 175, did either not contain theconjiparatively few figures of people in the the same reason, shrubbery, trees, and mountain. FIQ. 8.—See page 31. scenery augment the attractiveness of houses or towersby which we find them surrounded. See the MontignyChateau in the Valley, Fig. ^2, page 221. As applied tothe forms of architecture considered in themselves, too,the same is true. Notice the round face of the clock inthe chateau just mentioned. Ruskin, in his Elements ofDrawing, Letter II., illustrates a similar effect by drawinga small iron ring, not corresponding to anything about it,against one wall of a square and angular set of battle-ments (Fig. 8) and says with reference to the sketch : All 32 • THE GENESIS OF ART-FORM. would have been unsatisfactory if there had not happenedto be that iron ring on the inner wall, which by its vigor-ous black circular line precisely opposes all the square andregular characters o
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