. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. veighagainst the literary tendency in this art is a perfectlynatural reaction against an attempt on the part of certainEnglish and German artists of the early part of thepresent century, like West and Overbeck, not only torevive religious symbolic and allegoric painting, but to dothis, apparently, upon the supposition that a subjectcapable of being made impressive by an elaborate ex-planation, or story indicating its intention, can compensatefor an indifferent style, an idea subsequently develo
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. veighagainst the literary tendency in this art is a perfectlynatural reaction against an attempt on the part of certainEnglish and German artists of the early part of thepresent century, like West and Overbeck, not only torevive religious symbolic and allegoric painting, but to dothis, apparently, upon the supposition that a subjectcapable of being made impressive by an elaborate ex-planation, or story indicating its intention, can compensatefor an indifferent style, an idea subsequently developedby the English Pre-Raphaelites and in the genre picturesof the followers of Von Schadow at Dusseldorf. Onthe other hand, to inveigh against exclusive attentionto technique is an equally natural reaction against theexceedingly tame and unimaginative effects produced by KEPK/CSEXTA TION ./.\V? SCr/.P/TP/-:. 22C) mere imitation, such as we fiiul in many of tlic Frenclipictures. No amount of care expended u\)(^n the por-trayal of tint or texture in foliage, clothing;-, or flesh can. FIG. 151.—THE GIRLHOOD OF THE VIRGIN MARY. pages 230, 252, 295. I satisfy the artistic ideals of certain minds. They refuseI to admit that great art can ever result from any possiblej elaboration of small subjects. 230 PAINTING, SCULPTURE, AND ARCIIIIRCTURE. It is important to notice, however, that, although whatis said against either of these tendencies may be true, sofar as it excludes the other, there is nothing to indicateany necessity of its excluding this. Indeed, an endeavorto analyze the interest awakened by almost an\ picturewill reveal that it is necessarily related somewhat both tosignificance and to form. For instance, the title of TheGirlhood of the Virgin Mary, by Rossetti (Fig. 151, page229), proves that it is intended to interest us in the subjectwhich it is designed to represent, and, even, as indicatedby the halo around the dove and the wings on the chi
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