File: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 (1909) (14740693416).jpg

Identifier: genesisofartform00raym (find matches)
Title: 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
Year: 1909 (1900s)
Authors: Raymond, George Lansing, 1839-1929
Subjects:
Publisher: New York : G.P. Putnam's Sons
Contributing Library: Princeton Theological Seminary Library
Digitizing Sponsor: Princeton Theological Seminary Library

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
FIG. 80.-CHURCH OF ST. HILAIRE, ROUEN, FRANCE.See pages 124, 241. 238 THE GENESIS OF ART-FORM. Solomon his mysterious seal, and the Moors and buildersof Christian cathedrals their interlaced ornaments, mosaics,and intersections of ribs and arches. See Figs. 69, page208, 79, page 236, and 96, page 290. The idea to be held in mind in connection with con-tiiuiity is that it is an element of luiity. So if in a fore-ground, for instance, there be a row or group of treesstretching backward interrupted by a plain, it is well if,farther back, the same line of direction be carried on, if
Text Appearing After Image:
mmi FIG. 81.—FRONT ELEVATION.See page 241. FIG. 82.-SIDE ELEVATION.See page 241. not by trees, then, say, by a river, and still farther in theextreme distance, by the side of a hill or by a path uponthis hill. See the way in which such lines are continuedacross the entire canvas in Turners Decline of Carthage,Fig- 51, page 175, and in Corots Canal, Fig. 47, page157. Similar arrangements can characterize figures asrepresented in either painting or sculpture. Notice thisin the directions taken by the different limbs of the figuresin the I>aocoon, Fig. 75, page 226. Also in the lines INTERSPEf:S/OX, COMPLICATIOX, CONTINUITY. 239 enterintj into bothhuman figures andtheir surroundings inFigs. 26, page 81, and55, page 181. In thisway, also, as will beobserved by glancingagain at these illustra-tions, continuity con-tributes to the effectsof central-point andparallelism consideredin Chapters X. and XL,all the methods of art,as has been said be-fore, being necessarilyconnected. But to tu

Note About Images