. 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 . ges 289 and 290; also theTaj Mahal, Fig. 3, page 19, St. Marks, Fig. 31,page 88, St. Sophia, Fig. 42, page 123, and the Cha-teau de Rondeau, Fig. 85, page 258. Parallelism is a development of methods of setting,in conformity with the requirements of order, especiallyof these as manifested in the direction of eouiplenient andbalance. We all must have observed that while a singleline, described by being dr
. 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 . ges 289 and 290; also theTaj Mahal, Fig. 3, page 19, St. Marks, Fig. 31,page 88, St. Sophia, Fig. 42, page 123, and the Cha-teau de Rondeau, Fig. 85, page 258. Parallelism is a development of methods of setting,in conformity with the requirements of order, especiallyof these as manifested in the direction of eouiplenient andbalance. We all must have observed that while a singleline, described by being drawn or worked along the edgeof any material, forms a border for it, two or more lines,made parallel to the first, cause the border to appear moresatisfactory. A similar effect results from the parallelismsthat are seen in the flutings of columns, in the mouldingsof picture frames, in the string-courses and cornices of PARALLELISM IN PAINTING. I8l buildings, as also in the caps and sills of their windowsand doors. In the forms of pictures and statues, necessitating, too,in the main a use of widely differing curves, we frequentlyfind the arms and lower limbs, indeed the whole figures and. FIG. 55.— CARL pages 72, 174, iSi, 239. the folds of the drapery about them, as well as the surround-ing architectural arrangements of pillars, pilasters, arches,and furniture, all grouped in such a way that their prom-inent outlines are parallel, or very nearly so. In the origi-nal of Beckers Othello, Fig. 55, above, one can count 182 THE GENESIS OF ART-FORM. at the top of the picture forty-two distinctly parallel per-pendicular lines, used in the delineations of two distantchurches and their domes, the mast of a ship, three pillarsof a porch, a swinging lamp, the figure of the Moor, etc. Atthe right, there are also twenty-two horizontal lines ofthis kind, found in a rug, a platform, a bench, a mantel-piece, a niche, etc. At the left, are fifteen on the floorextending diag
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