. 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 . -MERCURY.—Bronze from pages 75, 85, 120. attention from a distance. Sometimes all these featurestogether are emphasized by being all made to constituteparts of one principal tower. Fig. 71, page 218. Theimpression of completeness that many people derive froui PRINCIPALITY IN ARCHITECTURE. 77 buildings like the Oriental mosques, Fig. 3, page 19, , page 86, Fig. 42, page 123, or St. P
. 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 . -MERCURY.—Bronze from pages 75, 85, 120. attention from a distance. Sometimes all these featurestogether are emphasized by being all made to constituteparts of one principal tower. Fig. 71, page 218. Theimpression of completeness that many people derive froui PRINCIPALITY IN ARCHITECTURE. 77 buildings like the Oriental mosques, Fig. 3, page 19, , page 86, Fig. 42, page 123, or St. Peters at Rome,Fig. 23, page 78, is owing undoubtedly to the fact that thedome used in them as a principal feature is especiallyeffective in subordinating to itself all the other forms, andgiving to the buildings as wholes an appearance of many structures extending into wings that equal or. FIG. 21.—THE pages 75, 85. surpass in size their central connecting parts, Fig. 24, page79 ; or containing large numbers of openings, gables, tur-rets, domes, or spires equivalent in effect, Fig. 72, page221, no such impression is produced. Nor, for reasonsto be given farther on in this chapter, can one claim thatin villas, such as are represented in these figures, thisimpression always should be produced. In neither build-ing is any special dignity of treatment demanded. Be- r8 THE GENESIS OF ART-FORM.
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