. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. -e itself is circular,and the field of vision which it views, at any one moment,always appears to be the same. So does the horizon andthe zenith, and so, too, do most of the objects that theycontain—the heaving mountain, the rising smoke or vaporthe rolling wave, the gushing fountain, the rippling stream,even the bubbles of its water and the pebbles of its chan-. IN THE OUTLIAES OF SHAPES. 65 ncl, and cxcry tree, plant, and animal, whether at rest orin motion. For this reason, curves
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. -e itself is circular,and the field of vision which it views, at any one moment,always appears to be the same. So does the horizon andthe zenith, and so, too, do most of the objects that theycontain—the heaving mountain, the rising smoke or vaporthe rolling wave, the gushing fountain, the rippling stream,even the bubbles of its water and the pebbles of its chan-. IN THE OUTLIAES OF SHAPES. 65 ncl, and cxcry tree, plant, and animal, whether at rest orin motion. For this reason, curves, wherever seen, neces-sarily suggest more or less of that which is normal, or, asapplied to natural animate life, of that which has thebuoyancy, freedom, and joyousness which we instinctivelyassociate with the possession of this. See the forms atthe right of V\g. 32, page 6j. The straight line with its accompanying angles we havefound to be produced by a man chiefly as a result of thereflective action of his mind. How is it with similareffects in the appearances surround-ing him ? Do rectangles withtheir straight, parallel sides (devel-oped from angularity, page 56), as inbuildings and in so many other ob-jects made by men, invariably suggestresults of construction, and, there-fore, of reflection expended uponthem ? Nor are such suggestionsconfined to objects with reference towhich a mans interference with thenormal action of nature is unmistak- p|
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