. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. 9.—A SCENE IN THE pages 32, 73, 399. 34 PAINTING, SCULPTURE, AND FIG. 10.—EGYPTIAN LOTUS-LEAF CAPITALFROM EDFU. lines in large, unbroken spaces, the church represented inIig. 12, page 35, would, at the same distance, appear to be so much nearer us thanwould the more minuteoutlines in Fig. 13, page 36,that these might seem rela-tively larger and fact, this effect of themassing of spaces is onereason why, as a rule, mostGreek buildings (Fig. 14,page 36) or

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. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. 9.—A SCENE IN THE pages 32, 73, 399. 34 PAINTING, SCULPTURE, AND FIG. 10.—EGYPTIAN LOTUS-LEAF CAPITALFROM EDFU. lines in large, unbroken spaces, the church represented inIig. 12, page 35, would, at the same distance, appear to be so much nearer us thanwould the more minuteoutlines in Fig. 13, page 36,that these might seem rela-tively larger and fact, this effect of themassing of spaces is onereason why, as a rule, mostGreek buildings (Fig. 14,page 36) or Greco-Roman(Fig. 12, page 35) appearSee pages 32, 394, 393. smaller and lower than Gothic buildings of approximate dimensions. One mustnot lose sight of the fact, however, that these effects aresubject also to the principle of contrast. In the paintingin Fig. 8, page 31, it is the contrast between the largerforms at the front andthe smaller at the rearthat cause the formerto seem nearer. Soin architecture. Not-withstanding the ef-fects of slight distanceconveyed by the largepillars in Fig. 3, page24, the contrast be-tween the width andthe * height of the

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