. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. 24.—OLD SOUTH CHURCH, pa<;es 35, 54, 84, 331, 3S0. ments, perpendicular or vertical, that add to the possibili-ties and presence of shadows, as in Fig. 12, page 35, P^^ge ?^:^6, or Fig. 15, page 3;. He will feel, too, theimpression of a certain amount of structural weaknessconveyed b\ plain walls, such as appear in h^ig. 173, page. ?fl 54 PAINTIXG, SCULPTURE, AND ARCHITECTURE. 319, Fig. 185, page 338, and in Fig. 190, page 343. A favorable opportunity for observing the
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. 24.—OLD SOUTH CHURCH, pa<;es 35, 54, 84, 331, 3S0. ments, perpendicular or vertical, that add to the possibili-ties and presence of shadows, as in Fig. 12, page 35, P^^ge ?^:^6, or Fig. 15, page 3;. He will feel, too, theimpression of a certain amount of structural weaknessconveyed b\ plain walls, such as appear in h^ig. 173, page. ?fl 54 PAINTIXG, SCULPTURE, AND ARCHITECTURE. 319, Fig. 185, page 338, and in Fig. 190, page 343. A favorable opportunity for observing the difference betweenthese two effects happens to be afforded in Boston by twobuildings visible from the same square, namely, TrinityChurch, Fig. 25, page 53, and the old South Church,Fig. 24, page 52. The masonry of both may be equallystrong, but in Trinity Church the heavy projections—especially the pillars over the front door that necessitatefoundation-walls broad enough to support both them andthe wall back of them, as well as the attendant shadowsin other parts of the building—suggest that nothing shortof an earthquake could cause its sides to tumble, while,apparently, a single conflagration might entirely prostratethose of the other church. See also what is said on page 331- As the great poem and the great picture, saysRuskin, in his Seven Lamps of Architecture, gener-ally affect us most by the majesty of their masses of lightand shade, a
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