Part 11 (1/2)

If we entirely destroy the vertical feeling and bend our trees, as at F, the expression of much energy will be the result, and a feeling of the stress and struggle of the elements introduced where there was perfect calm.

It is the aloofness of straight lines from all the fuss and flurry of variety that gives them this calm, infinite expression. And their value as a steadying influence among the more exuberant forms of a composition is very great. The Venetians knew this and made great use of straight lines among the richer forms they so delighted in.

It is interesting to note how Giorgione in his ”Fete Champetre” of the Louvre (see ill.u.s.tration, page 151 [Transcribers Note: Plate x.x.xIII]), went out of his way to get a straight line to steady his picture and contrast with the curves. Not wanting it in the landscape, he has boldly made the contour of the seated female conform to a rigid straight line, accentuated still further by the flute in her hand. If it were not for this and other straight lines in the picture, and a certain squareness of drawing in the draperies, the richness of the trees in the background, the full forms of the flesh and drapery would be too much, and the effect become sickly, if not positively sweet. Van Dyck, also, used to go out of his way to introduce a hard straight line near the head in his portraits for the same reason, often ending abruptly, without any apparent reason, a dark background in a hard line, and showing a distant landscape beyond in order to get a light ma.s.s to accentuate the straight line.

[Ill.u.s.tration: Diagram X.

ILl.u.s.tRATING, A, CALM RHYTHMIC INFLUENCE OF HORIZONTAL LINES SUCH AS A SUNSET OVER THE SEA MIGHT GIVE; B, INTRODUCTION OF LINES CONVEYING SOME ENERGY; C, SHOWING DESTRUCTION OF REPOSE BY FURTHER CURVING OF LINES.

THE CALM EVENING HAS BECOME A WINDY ONE.]

[Ill.u.s.tration: Diagram XI.

ILl.u.s.tRATING, D, RHYTHMIC INFLUENCE OF VERTICAL LINES; E, THE INTRODUCTION OF SOME VARIETY; F, THE DESTRUCTION OF THE VERTICAL AND CONSEQUENT LOSS OF REPOSE.]

The rich modelling and swinging lines of the ”Bacchus and Ariadne” of t.i.tian in the National Gallery, here reproduced, page 154 [Transcribers Note: Plate x.x.xIV], would be too gross, were it not for the steadying influence of the horizontal lines in the sky and the vertical lines of the tree-trunks.

While speaking of this picture, it might not be out of place to mention an idea that occurred to me as to the reason for the somewhat aggressive standing leg of the female figure with the cymbals leading the procession of revellers. I will not attempt any a.n.a.lysis of this composition, which is ably gone into in another book of this series. But the standing leg of this figure, given such prominence in the composition, has always rather puzzled me. I knew t.i.tian would not have given it that vigorous stand without a good reason. It certainly does not help the run of the composition, although it may be useful in steadying it, and it is not a particularly beautiful thing in itself, as the position is one better suited to a man's leg than to a woman's. But if you cover it over with your finger and look at the composition without it, I think the reason of its prominence becomes plainer. t.i.tian evidently had some trouble, as well he might have, with the forward leg of the Bacchus. He wished to give the look of his stepping from the car lightly treading the air, as G.o.ds may be permitted to do. But the wheel of the car that comes behind the foot made it difficult to evade the idea that he was stepping on it, which would be the way an ordinary mortal would alight. I think the duty of the aggressive standing leg of the leading Bacchante, with its great look of weight, is to give a look of lightness to this forward leg of Bacchus, by contrast--which it certainly does. On examining the picture closely in a good light, you will see that he has had the foot of Bacchus in several positions before he got it right. Another foot can distinctly be seen about a couple of inches or so above the present one. The general vertical direction of this leg is also against its look of lightness and motion, tending rather to give it a stationary, static look. I could not at first see why he did not bring the foot further to the right, which would have aided the lightness of the figure and increased its movement. But you will observe that this would have hurled the whole weight of the ma.s.s of figures on the right, forward on to the single figure of Ariadne, and upset the balance; as you can see by covering this leg with your finger and imagining it swinging to the right. So that t.i.tian, having to retain the vertical position for Bacchus' forward leg, used the aggressive standing leg of the cymbal lady to accentuate its spring and lightness.

[Ill.u.s.tration: Plate x.x.xIV.

BACCHUS AND ARIADNE. t.i.tIAN

_Photo Hanfstaengl_]

A feeling of straight-up-ness in a figure or of the horizontal plane in anything will produce the same effect as a vertical or horizontal line without any actual line being visible. Blake's ”Morning Stars Singing Together” is an instance of the vertical chord, although there is no actual upright line in the figures. But they all have a vigorous straight-up-ness that gives them the feeling of peace and elevation coupled with a flame-like line running through them that gives them their joyous energy.

[Ill.u.s.tration: Diagram XII.

A, B, C]

[Sidenote: The Right Angle]

The combination of the vertical with the horizontal produces one of the strongest and most arresting chords that you can make, and it will be found to exist in most pictures and drawings where there is the expression of dramatic power. The cross is the typical example of this.

It is a combination of lines that instantly rivets the attention, and has probably a more powerful effect upon the mind--quite apart from anything symbolised by it--than any other simple combinations that could have been devised. How powerful is the effect of a vertical figure, or even a post, seen cutting the long horizontal line of the horizon on the sea-sh.o.r.e. Or a telegraph post by the side of the road, seen against the long horizontal line of a hill at sunset. The look of power given by the vertical lines of a contracted brow is due to the same cause. The vertical furrows of the brow continuing the lines of the nose, make a continuous vertical which the horizontal lines of the brow cross (see Fig. A in the ill.u.s.tration). The same cause gives the profile a powerful look when the eyebrows make a horizontal line contrasting with the vertical line of the forehead (Fig. B). Everybody knows the look of power a.s.sociated with a square brow: it is not that the square forehead gives the look of a larger brain capacity, for if the forehead protrudes in a curved line, as at C, the look of power is lost, although there is obviously more room for brains.

This power of the right angle is well exemplified in Watts' ”Love and Death,” here reproduced, page 158 [Transcribers Note: Plate x.x.xV]. In this n.o.ble composition, in the writer's opinion one of the most sublime expressions produced by nineteenth-century art, the irresistible power and majesty of the slowly advancing figure of Death is largely due to the right angle felt through the pose. Not getting it in the contour, Watts has boldly introduced it by means of shading the farther arm and insisting on the light upper edge of the outstretched arm and hand, while losing somewhat the, outline of the head beyond. Note also the look of power the insistence on square forms in the drapery gives this figure. The expression is still further emphasised by the hard square forms of the steps, and particularly by the strong horizontal line of the first step so insisted on, at right angles to the vertical stand of the figure; and also the upright lines of the doorway above. In contrast with the awful sublimity of this figure of Death, how touching is the expression of the little figure of Love, trying vainly to stop the inevitable advance. And this expression is due to the curved lines on which the action of the figure is hung, and the soft undulating forms of its modelling. Whereas the figure of Death is all square lines and flat crisp planes, the whole hanging on a dramatic right angle; this figure is all subtle fullness both of contour and modelling melting one into the other, the whole hung upon a rich full curve starting at the standing foot of the advancing figure. And whereas the expression of Death is supported and emphasised by the hard, square forms and texture of the stone steps, the expression of Love is supported and emphasised by the rounded forms and soft texture of the cl.u.s.tering roses. On this contrast of line and form, so in sympathy with the profound sentiment to which this picture owes its origin, the expressive power of this composition will be found to depend.

[Ill.u.s.tration: Diagram XIII.

ILl.u.s.tRATING SOME OF THE LINES ON WHICH THE RHYTHMIC POWER OF THIS PICTURE DEPENDS.]

[Ill.u.s.tration: Plate x.x.xV.

LOVE AND DEATH. BY G.F. WATTS

A n.o.ble composition, founded on the power of the right angle in the figure of Death, in contrast with the curved lines in the figure of Love. (See diagram opposite.)

_Photo Hollyer_]

In the diagram accompanying the reproduction of this picture I have tried to indicate in diagrammatical form some of the chief lines of its anatomy.