. 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 . -. With scarcely an exception, the crowdof spectators, who fill an amphitheatre above, answer thisappeal by stretching a hand towards the gladiator,with the thumb downward, indicating thus their desireto have him show no mercy to his fallen antagonist. Ofcourse, all the extended arms, by pointing as they do,direct attention to the gladiator as the principal object of. FIQ. 50.—CATTLE—C. pages
. 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 . -. With scarcely an exception, the crowdof spectators, who fill an amphitheatre above, answer thisappeal by stretching a hand towards the gladiator,with the thumb downward, indicating thus their desireto have him show no mercy to his fallen antagonist. Ofcourse, all the extended arms, by pointing as they do,direct attention to the gladiator as the principal object of. FIQ. 50.—CATTLE—C. pages 16, 158, 172. interest, and also make of the whole picture a unity bothin thought and form. But, in addition to this, the hori-zontal outlines in the front walls of the amphitheatre,which concentrate according to the laws of the perspective,also the outlines of a pillar of the amphitheatre and ofone prominent division between its benches, as well, too,as the outlines of a form and the shadow of a cdadiator 174 THE GENESIS OF ART-FORM. already slain and lying on the ground,—-all these aregiven such directions that they too point toward theprincipal figure. The same method is exemplified againin Beckers Othello (Fig. 55, page 181), where thelines formed by a rug on the floor, by the railing of a porch,by a wall, and by the general directions indicated in thetops of buildings seen at a distance, all point toward theobject of Othellos love, Desdemona. A peculiar phase of this effect is mentioned by Ruskinin his Winklemans Ancient Art. He draws, am
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