. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. be exemplified, too, as applied to ex-teriors. Notice the general form of the temple in , page 400, and more minutely the details of the samestyle as enlarged in Fig. 233, page 401. Then look at thegeneral effect of the Tissington spires represented in , page ^J, and in connection with doing so, recall, asrelated to the second figure, the detailed effects of rocksstratified in layers with which all of us who have ever seencliffs or precipices cannot fail to be familiar. After com-p
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. be exemplified, too, as applied to ex-teriors. Notice the general form of the temple in , page 400, and more minutely the details of the samestyle as enlarged in Fig. 233, page 401. Then look at thegeneral effect of the Tissington spires represented in , page ^J, and in connection with doing so, recall, asrelated to the second figure, the detailed effects of rocksstratified in layers with which all of us who have ever seencliffs or precipices cannot fail to be familiar. After com-paring the art-products with such appearances of nature,is it difficult for any one who understands the naturalworkings of the mind to perceive a subtle connection be-tween the two ? Now, with this thought in mind, turning again to theother arts, notice that an increase in the imitation of 400 PAINTING, SCUIPTUAE, AND AKCIIITRCTURE. natural ap[)caranccs in the details has a tendency to in-crease the same in the treatment determining the gen-eral outlines also. y\s a rule the general |)lot, /. e.,. FIQ. 232.—TEMPLE AT BUDDHA GAYA pages 3S0, 399. the general outline.;, of a ballad has to do mainly withmere events; the plot of an epic, which comes later.
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