. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. thechancel ; and it would be wholly out of place in a difference between the interior of the Cathedral ofNew York and of the Metropolitan Opera House, thoughlargely one of form, is still more largely one of years ago the directors of the Academy of Music inPhiladelphia had the building refitted. The walls werecovered with paper in which blue predominated. Theeffect was manifestly so disastrous to the complexion ofthe audience and the cheerfuli^ess of their spirits, that,d
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. thechancel ; and it would be wholly out of place in a difference between the interior of the Cathedral ofNew York and of the Metropolitan Opera House, thoughlargely one of form, is still more largely one of years ago the directors of the Academy of Music inPhiladelphia had the building refitted. The walls werecovered with paper in which blue predominated. Theeffect was manifestly so disastrous to the complexion ofthe audience and the cheerfuli^ess of their spirits, that,during the twenty-four hours subsequent to the first nightof its reopening, the entire room was papered again, thistime more appropriately. Fortunately, all are not sensi-tive to color, and few of those who are, are able to assignthe right reason to the causes of their sensations. All thesame, it behooves those who know that certain personswith certain temperaments are thus affected, to a\oid, fortheir sakes, any violations of those conditions which, as arule, conduce to cheerfulness and < ^ cr rr) o CI iij I ^ K 0 < 2o6 PAINTING, SCUIPTURE, AND ARCHITECTURE. There is anotlier effect of these cold, as contrasted williwarm colors, which, perhaps, should be mentioned here,though, for another reason, it belongs to the subject to betreated in Chapter XVI. Owing to the degree of lightthat is necessary for the production of the warmer colors,it is only when objects are near at hand and therefore arein very strong light that we perceive these colors at a distance, as exemplified in the blue of mountainranges, everything is robed in the cold colors. For thisreason, it is held that, in painting, the warm colors, withtheir compounds and admixtures, have the effect of caus-ing objects to seem to be at the front of a picture, and thecold colors of making them seem to be at the rear. Weknow that in linear perspective the farther off objects arethe smaller they appear.
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