A dictionary of architecture and building : biographical, historical, and descriptive . g these variations are included and areoften exceeded, the scale of the figures attaininga heroic or even a colossal proportion. Thisscale is deterndned primarily by the distancefrom the eye at which the painting is the figures in the ceiling of a drawing-room 16 feet high wotdd but little exceed thesize of life, whereas the figures painted ujionthe vaulting of a chajiel CO feet high or u]Min adome at 150 feet woulil necessarily be of nuichgreater size. A second determinative influence upon scal
A dictionary of architecture and building : biographical, historical, and descriptive . g these variations are included and areoften exceeded, the scale of the figures attaininga heroic or even a colossal proportion. Thisscale is deterndned primarily by the distancefrom the eye at which the painting is the figures in the ceiling of a drawing-room 16 feet high wotdd but little exceed thesize of life, whereas the figures painted ujionthe vaulting of a chajiel CO feet high or u]Min adome at 150 feet woulil necessarily be of nuichgreater size. A second determinative influence upon scaleof figures in mural painting is that of the archi-tectural mendiers or architectural to the ]iainted work. The safestmethod for determining scale is to fasten ex-perimentally to the surface to be painted car-toons of figures executed to various scales. Till romj) of lines, in mural paint-ing, must be iiiHuenccd by the surroundingarchitectural forms and the shape of the jiaint-ing itself Thus, in a medallion or lunette the982 MURAL PAINTING MURAL PAINTING. Mural Painting, Pompeii: Ceiling of Baths near the Porte Stabiana. effect is enhanced if certain main lines in thecomposition reecho the form of the entire fine examples see Rajiliaels lunettes in theVatican Stanze and Del Sartos Madonnadel Sacco. Lines directly contradicting thesurroundins: forms are also useful at times, andthe apparent height or width of a painting maybe increased by the skilful use of lines. In the composition of masses the same rulesapply, since a mass is in a measiue circumscribed983 by an imaginary line. The size and number ofthe masses are, however, greatly influenced by thesunounding architecture, since the eye demandsin certain spaces the repose produced by largesimple , and in other spaces an eifect ingreater complexity. See Giotto and also Raphaelas masters of simplicity in masses, and amongmodern painters, Jean Paul Laurens as one whohas specially u
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