. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. ation, con-stantly stimualting it, as they do, to solve the mystery oftheir mode of arrangement. Such being their effects, onewould expect to find the natural forms characterized bythem proving more exciting to the emotions than thosealready considered. And When we examine the appear-ances about us, is not this exactly what we do find? Isit not when complicated curves and angles outline naturaltrifles that they fascinate and make men imitate them intheir curios? Is it not when curves, straight
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. ation, con-stantly stimualting it, as they do, to solve the mystery oftheir mode of arrangement. Such being their effects, onewould expect to find the natural forms characterized bythem proving more exciting to the emotions than thosealready considered. And When we examine the appear-ances about us, is not this exactly what we do find? Isit not when complicated curves and angles outline naturaltrifles that they fascinate and make men imitate them intheir curios? Is it not when curves, straight lines andangles join in natural forms of grander import, when thetree and bush are wreathed about the precipice, when thedome-like mountain and the rolling cloud lift above thesharp peak and cloven crag, and far below them lies theflat plain or lake,—is it not then, in connection withsuch combinations, that the most exciting appeal is madethrough the emotions to the imagination ? That the facts are as here suggested, will be evident toany one who will make a careful study of the subtle effects. JO PAINTING, SCULPTURE, AND ARCHITECTURE. upon the mind of different scenes in nature, and of theimitations of them in art. Indeed, a slight indication ofwhat is meant may be observed in Fig. 32, page ^y. Inthis place a good way, perhaps, of discovering the repre-sentative capabilities of these different appearances, is torecall the use that is made of them by the landscapegardener. Is it not a fact that, in case he desire to directattention to the beauty of nature in itself, /. e., to thecapabilities of nature with the least possible suggestion ofthe intervention of a human mind,—that in this case hisplans will develop into gradually rising mounds and cir-cuitous drives, winding among trees and shrubs plantedin clusters but not in rows ? On the contrary, if he desireto produce a distinctly different impression, causingthought to revert from nature to man, either to the artistwho has
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