. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. , Poussin has re-peated the horizontal lines. Lying upon his death-bedthe citizen of Corinth forms the dominant line of the ar-rangement. The lance of the hero repeats this line, and,prostrate like him, seems condemned to the repose of hismaster, and to affirm a second time his death. Againreferring to the vertical lines, he says : Look now atThe Life of Saint Bruno, by Lesueur. . The sol-emnity of the religious sentiment, which is an ascendingaspiration, is expressed in it by the dominant repe
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. , Poussin has re-peated the horizontal lines. Lying upon his death-bedthe citizen of Corinth forms the dominant line of the ar-rangement. The lance of the hero repeats this line, and,prostrate like him, seems condemned to the repose of hismaster, and to affirm a second time his death. Againreferring to the vertical lines, he says : Look now atThe Life of Saint Bruno, by Lesueur. . The sol-emnity of the religious sentiment, which is an ascendingaspiration, is expressed in it by the dominant repetition GRADATION IN THE OUTLINES OF SHAPES. 75 and parallelism of the verticals ; and this parallelism, whichwould be only monotony if the painter had had other per-sonages to put upon the canvas, becomes an expressiverepetition when it is necessary to render apparent the re-spect and uniformity of the monastic rule, the silence,meditation, renunciation of the cloister. Once more, inlanguage applying accurately to only what we have heretermed mixed lines, consisting of both curves and angles. FIG. 36.—THE RAPE OF THE SABINES. N. pages 46, 75, 87. though often angularity alone is attributed to them, hesays : If it be necessary to represent a terrible idea,—for instance that of the last judgment, . . such sub-jects demand lines vehement, impetuous, and Angelo covers the wall of the Sistine chapel withcontrasting and flamboyant lines. Poussin torments andtwists his in the pictures of Pyrrhus Saved and TheSabines (Fig. 36, page 75), and the linear modes employed ^6 PAINTING, SCULPTURE, AND ARCHITECTURE. by these masters are examples of the law to be followed,that of brhiging back with decision to their dominantcharacter the whole of the great lines, that is 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 an
Size: 1863px × 1342px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, bookpublishernewyorkgpputnamsso
