. 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 . igure. Of course, the groupsthus formed are usually arranged as if they were onlyindividual factors. Notice the grouping in RaphaelsTransfiguration, Fig. 46, page 147, and in TenierssVillage Dance, Fig. 43, page 143, and Fig. 10, page 41. The varieties of ways in which effects of balance may besecured in these visible arts, especially in painting, seempractically infinite. As a method, too, it is almost
. 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 . igure. Of course, the groupsthus formed are usually arranged as if they were onlyindividual factors. Notice the grouping in RaphaelsTransfiguration, Fig. 46, page 147, and in TenierssVillage Dance, Fig. 43, page 143, and Fig. 10, page 41. The varieties of ways in which effects of balance may besecured in these visible arts, especially in painting, seempractically infinite. As a method, too, it is almost uni-versal. In Geromes Pollice Verso, Fig. 26, page 81,a gladiators limbs stretched upon the ground on one sideof his triumphant antagonist is exactly balanced by thearmor that has been stripped from them, which lies on theother side of the victor; while the arm of the latter, liftedthat his sword mav strike, is balanced bv his victims arm BALANCE IN- PAINTING. 83 lifted to appeal for mercy. In the first case, avc have aninstance of balance produced in spite of decided contrastbetween the balancing members. A similar effect is pro-duced by color in one of Paul Veroneses pictures of the. FIG. DISCOBOLUS, OR QUOIT page 85. Marriage at Cana, where a small black head of a dog onone side is said to balance a large mass of black on^heother side. So, too, in Jules Bretons Brittany Washer-women, formerly in the New York Metropolitan Museum, 84 THE GENESIS OF ART-FORM. a little blue in the womens skirts balances a much largeramount of blue in the sea opposite to them. As exemplified in the human figure, and so in sculpture,balance can never be fully understood, except as it istreated in connection with both symuictry and it is sufificient to point out that, as a rule, in orderto secure variety, the limbs of the two sides of the bodyshould be in somewhat different positions. If this arrange-ment be adopted, nature requires that a man should keephis equ
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