. 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 . ed ones as, for instance, in series ofcurves and angles, the different sides of which depart inregular degrees from exact parallelism. In his cartoondepicting The Death of vVnanias, Raphael, (Fig. 94page 288) causes the terror of the principal figureto be manifested \\\ similar attitudes of the figures onboth sides of Ananias, but as they gradually recede intothe background, their expressions and attitud
. 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 . ed ones as, for instance, in series ofcurves and angles, the different sides of which depart inregular degrees from exact parallelism. In his cartoondepicting The Death of vVnanias, Raphael, (Fig. 94page 288) causes the terror of the principal figureto be manifested \\\ similar attitudes of the figures onboth sides of Ananias, but as they gradually recede intothe background, their expressions and attitudes becomeless and less indicatixe of the feeling at the centre ofinterest. In fulfilnu-nt of the sanie method, both in painting andsculpture, the hundreds of curves that together constitutethe contour of the human body are made to pass into oneanother, causing its members gradually to expand or there are places, as at the heel, where the transitionsare \cry abrupt. The number of these is often increasedwith great effect by the introduction, in connection withboth li\ing figures and foliage, of scarfs, bands, girdles,and folds in the drajjery, or of rectangular lines of archi-. GRADATION IN ARCHITECTURE. 289 tecturc which in pillars, entablatures, niches, and pedestalssurround or support the figures. See those on pp. 30,4f. 74> 121. Both these methods have a place too in must ha\e noticed that perpendicular lines when car-
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