. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. lts of such study. Mr, George \V,Sheldon, too, has thrown an immense amount of light onthe same subject in his exceedingly interesting and im-portant series of what might be termed edited inter-views with painters, published in his volumes entitledAmerican Painters, Hours wath Art and Artists, andRecent Ideals in American Art. Indeed, to attempthere anything intended in any sense to be a substitute for KEPHESEXIA TIOiV OF MATERIAL APPEARANCES. 293 these works would be superfluousplan renders so
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. lts of such study. Mr, George \V,Sheldon, too, has thrown an immense amount of light onthe same subject in his exceedingly interesting and im-portant series of what might be termed edited inter-views with painters, published in his volumes entitledAmerican Painters, Hours wath Art and Artists, andRecent Ideals in American Art. Indeed, to attempthere anything intended in any sense to be a substitute for KEPHESEXIA TIOiV OF MATERIAL APPEARANCES. 293 these works would be superfluousplan renders somereference to thesubject essential,it is hoped that, byway of arrange-ment or comment,if of nothing else,even those familiarwith the generalprinciples involvedmay not find thischapter wholly un- As has been no-ticed, there aremany characteris-tics of visible more import-ant of these, bygrouping togetherin four cases twofactors that areclearly allied, maybe considered un-der the heads oflight and shade,shape and texture,distance and per-spective, and lifeand movement. But as our general. .—TREATMENT OF DESIGN IN pages 44, 46, 294, 307. These four doubled re-quirements of painting, and, in some cases, of sculpture. 294 , SCULPTURE, AND ARCHITECTURE. we shall consider as influencing first the use of lines, asin drawing or carving ; and, second, the use of color. With reference to light and shade as influencing the useof lines, it is chiefly important to notice that, in verybright light objects are more distinct than in dim light,first, because we see them more clearly ; and second,because we see them in contrast to shadows which arcimmediately beside or behind them ; and in the brightestlight, as in brilliant sunshine, the shadows are always com-paratively the darkest. Notice the two illustrations atthe right of Fig. i68, page 297. Of course the representa-tion, whether by pencil or brush, of outlines supposed tobe illuminated by different
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