. The æsthetic attitude. man and theDoge in the Academy in Venice (Fig. 48), the boyin the foreground is leaning toward the priest andthe attention is guided from him to the priest andthen in a direct line to the fisherman and the Titians Visitation in the same gallery the oldwoman on the steps serves the same function as theboy in Bordones picture. In all pictures wherethere are a great many figures, there would bemuch difficulty in perceiving the main features ofthe composition if it were not for such guiding ob-jects. § 3. Binding Effect of Architectural Back-grounds In the pictures
. The æsthetic attitude. man and theDoge in the Academy in Venice (Fig. 48), the boyin the foreground is leaning toward the priest andthe attention is guided from him to the priest andthen in a direct line to the fisherman and the Titians Visitation in the same gallery the oldwoman on the steps serves the same function as theboy in Bordones picture. In all pictures wherethere are a great many figures, there would bemuch difficulty in perceiving the main features ofthe composition if it were not for such guiding ob-jects. § 3. Binding Effect of Architectural Back-grounds In the pictures previously described, mentionwas made of the binding effect of the many pictures it is very obvious that the arches,pillars, and walls serve a purpose beyond that of abackground for the main group. In the Annun-ciation by Andrea del Sarto, in the Pitti (Fig. 49),the arch of the building has not been thus placedby chance or even to balance the picture, but toconnect the Angel with the Virgin. In the por-. Fig. 45.—Madonna and Saints, by Botticelli,Kaiser Friedrich Museum, Berlin.
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Keywords: ., bookcentury1900, bookdecade1920, bookidstheticattit, bookyear1920
