Part 6 (1/2)

=(Rt)M+I

The thousand pictures on which the study was based<1> were classified for convenience into groups,--Religious, Portrait, Genre, and Landscape It was found on analysis that the functions of the elements came out clearly, somewhat as follows

<1> One thousand reproductions of old masters from F Bruck frescoes and pictures of which less than the whole was given

Of the religious pictures, only the ”Madonnas Enthroned” and other altar-pieces are considered at this point as presenting a simple type, in which it is easy to show the variations from symmetry In all these pictures the balance comes in between the interest in the Infant Christ, soether with direction of attention to him, on one side, and other elements on the other When the first side is especially ”heavy” the nu elements increases, and especially takes the form of vista and line, which have been experi attention Where there are no surrounding worshi+pers, we notice reeneral, balance is brought about through the disposition of form rather than of interests

The reason for this would appear to be that the lack of accessories in the persons of saints, worshi+pers, etc, and the consequent increase in the size of Madonna and Child in the picture, heightens the effect of any given outline, and sothe case, the coer; and as we have learned that vista and line are of this character, we see why they are needed

The portrait class is an especially interesting object for study, inaseneral type is very sihtest variations are sharply felt, and have their very strongest characteristic effect The general type of the portrait cole with the head at the apex, and this point is also generally in the central line; nevertheless, great richness of effect is brought about by e variations

For instance, the body and head are, in the great est possible emphasis to the direction of attention,--especially powerful, of course, where all the interest is in the personality But it is to be observed that the very strongest suggestion of direction is given by the direction of the glance; and in no case, when lance fail to come backward With the head on one side of the central line, of course the greatest interest is reht in to balance Again, with this decrease in synificant increase in the use of the especially effective elements, vista and line In fact, the use of the small deep vista is almost confined to the class with heads not in the lance also plays an important part Very often the direction of movement alone is not sufficient to balance the powerful M+I of the other side, and the eye has to be attracted by a definite object of interest

This is usually the hand, with or without an implement,--like the palette, etc, of our first examples,--or a jewel, vase, or bit of embroidery This is very characteristic of the portraits of Reeneral, it may be said that (1) portraits with the head in the centre of the fraested movement on one side, and ether, on the other; while (2) portraits with the head not in the centre show a balance between mass and interest on one side, and direction of attention, or of line, or vista, or combinations of these, on the other

Still more unsymmetrical in their framework than portraits, in fact the enre pictures

As these are pictures with a human interest, and full of action and particular points of interest, it was to be expected that interest would be the elereat variations froeometrical symmetry, it was also to be expected that vista and line, elements which have been noted comparatively seldoly; for, as being the ly ”heavy” of the elements, they serve to compensate for other variations combined

The landscape is another type of unfettered composition It was of course to be expected that in pictures without action there should be little suggestion of attention or of direction of movement But the most remarkable point is the presence of vista in practically every example It is, of course, natural that somewhere in almost every picture there should be a break to show the horizon line, for the sake of variety, if for nothing else; but what is significant is the part played by this break in the balancing of the picture In about two thirds of the examples the vista is inclosed by lines, orat the same time the ”heaviest” part of the picture, it serves as a fulcruether than in the other types of pictures--into a close unity The onal, which just saves itself by turning up at its far end Thus the mass, and hence usually the special interest of the picture, is on the one side, on the other the vista and the sloping line of the diagonal In very few cases is the vista behind an attractive or noticeable part of the picture, the fact showing that it acts in opposition to the latter, leading the eye away fro at once the variety and richness of the picture, and its unity A co at the extrely,-- unless, indeed, balanced by very striking elee

This function of the vista as a unifying element is of interest in connection with the theory of Hildebrand,<1> that the landscape should have a narrow foreground and wide background, since that is most in conformity with our experience He adduces titian's ”Sacred and Profane Love” as an exaeneral principle it may be said that not the reproduction of nature, but the production of beauty, is the aim of co the eye by a narrow background, ie vista No matter how much it wanders, it returns to that central spot and is held there, keeping hold on all the other elements Of Hildebrand's example it may be said that the pyramidal composition, with the dark and tall tree in the centre, effectually accoures, so that a vista is not needed A wide background without that tree would leave theeneral, it may be said that balance in landscape is effected between mass and interest on one side and vista and line on the other; and that union is given especially by the use of vista

II

The experimental treatment of the isolated ele attention in the field of view But while all are possibly operative in a given picture, soiven, as we have seen, much more importance than others, and in pictures of different types different eleeneral symmetrical framework, such as the altar and Madonna pieces, the elements of interest and direction of attention determine the balance, for they appear as variations in a symmetry which has already, so to speak, disposed of ive what action there is, and where they are very strongly operative, they are opposed by salient lines and deep vistas, which act ly on the attention than does hout the types, except in the portraits, where the head is usually in the central line

But even a the portraits it has a respectable representation, as jewels, eely too in composition

The direction of attention isthe portraits

Since these pictures represent no action, it iven by those elements which move and distribute the attention; in accordance hich principle we find line also unusually influential As reely without action, depend largely for it on the direction of attention

The vista, as said above, rivets and confines the attention We can, therefore, understand how it is that in the genre pictures it appears very numerous The active character of these pictures naturally requires to beeleht be said, inas down the third dimension, the vista introduces an ele character In the landscape it introduces the principal element of variety It is always to be found in those parts of the picture which are opposed to other powerful elements, and the ”heavier” the other side, the deeper the vista

Also in pictures with two groups it serves as a kind of fulcru element, inasmuch as it rivets the attention between the two detached sides

The direction of suggestion by means of the indication of a line, quite naturally is more frequent in the Madonna picture and portrait classes Both these types are of large simple outline, so that line would be expected to tell In a decidedonal slope--it is clear that it acts as a kind of bond between the two sides, carrying the attention without a break from one to the other

The elereatest number in those pictures which have little action, ie portraits and landscapes, and which are not yet symmetrical,-- in which last case mass is, of course, already balanced In fact, it must of necessity exert a certain influence in every unsyenre pictures, is large

Thus weattention to a certain spot and dispersing it over a field Those types which are of a static character (landscapes, altar-pieces) abound in elements which disperse the attention; those which are of a dynaenre picture), in those which make it stable The ideal composition seems to combine the dynamic and static elements,--to anienerally bilateral fashi+on The elements, in substitutional sy variety and action As a dance in which there are coives the actor and beholder a varied and thus vivified ”balance,” and is thus more beautiful than the simple walk, so a picture coestions of eometrical symmetry

III

The particular functions of the eleeometrical symmetry have been made clear; their presence lends variety and richness to the balance of iven by balance, is also enriched by a unity for intuition,--a large outline in which all the eleether varies; and I believe that it bears a very close relation to the subject and purpose of the picture

Examples of these types of co a feell-known pictures We in with the class first studied, the Altar-piece, choosing a picture by Botticelli, in the Florence Acadeels; under this, again, sits the Madonna with the Child on her lap, on a throne, at the foot of which, on each side, stand three saints The outline of the whole is , three pyra A second, iven by another Botticelli in the Acadeure, topped by the floating Cupid, is slightly raised above the others, which, however, bend slightly inward, so that a triangle, or pyraested; and the whole, which at first glance seerasped, as closely bound together

Closely allied to this is the type of the Holbein ”Madonna of Burgomaster Meyer,” in the Grand Ducal Castle, Dariven by the head of the Madonna against the shell-like background, and her spreading cloak which envelops the kneeling donors But stillrows of these worshi+ping figures, especially against the dark background of the Madonna's dress A second exa, is found in Rubens's ”Rape of the Daughters of Leucippus,” in the Alte Pinakothek at Munich Here the diaures is htness which will be discussed later in interpreting the types