. 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 . o . UJ cc 1/6 THE GENESIS OF ART-FORM. them, and as if to an ideal central-point that is abovethem. A similar effect, but having a more direct bearingupon symmetry in that it directs attention to a cciitral-liiicrather \.\\^\\\ point, yet evidently suggested by the way inwhich limbs radiate from a tree-trunk, may be observedin the Vatican statue of a German Captive (Fig. 53,page 177). In architecture, th
. 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 . o . UJ cc 1/6 THE GENESIS OF ART-FORM. them, and as if to an ideal central-point that is abovethem. A similar effect, but having a more direct bearingupon symmetry in that it directs attention to a cciitral-liiicrather \.\\^\\\ point, yet evidently suggested by the way inwhich limbs radiate from a tree-trunk, may be observedin the Vatican statue of a German Captive (Fig. 53,page 177). In architecture, this method is not used as extensively,perhaps, as it should be. At the same time, there is. FIQ. SOLDIERS RETURN.(From the National Monument near Bingen, Germany.) See pages i6, 26, 174, 182, 257. more of it than, at first, might be supposed. Even thelaws of the perspective on which it is based were appliedby the Greeks to produce effects in buildings in muchthe same way as we now use them to produce effects inpictures. This fact explains the slight upward curveswhich have been found toward the middles of the pave-ments of the porches on which the columns rested, alsothe corresponding curves in the entablatures, as well as
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