To sum up what has been said with reference to extension, in painting, sculpture, and architecture, relatively large and small size corresponding in this regard to relatively long and short duration, have respective representative effects. Either by way of association or of comparison, or of both, they respectively indicate what is

heavy, strong, substantial, immovable, important, influential, dignified, near, on the one hand; or else, on the other hand, what is light, weak, unsubstantial, movable, unimportant, uninfluential, undignified, remote. This principle causes us, when looking at objects, to think more of a full-grown man than of a doll, more of a cathedral than of a cottage, more of the fingers on a statue than of the fringe on which perhaps, they rest, and more of the towers and domes of a building than of its chimneys and ventilators. The same principle applied in connection with the natural laws of the perspective, causes us to give more consideration to the full-sized figures in the foreground of a painting than to the minute objects in its background. If the picture be designed to interest us in animals, this fact is represented by large size that brings them to the front; if in a pasture in which they are feeding, by small size that sends them to the rear. Overbalancing foliage, with a cherub's face just visible in it, emphasises the prodigality of

inanimate nature. A full-sized statue, with a few flowers about it, emphasises the pre-eminence of man. building, the requirements for the support either of many occupants or of a heavy superstructure are represented by large foundations, wall, or pillars (see Fig. 28, page 219) accommodation for crowds, by wide entrances (see Fig. 34, page 227); for light in large, high rooms, by large, high windows (see Fig. 29, page 220); and for air, by lofty roofs or domes (Fig. 53, page 281; Fig. 79, page 354).

Passing on to the effects of relative massiveness or energy of touch, which in the arts of sight correspond to force as used with sounds, compare Fig. 30, page 221, with Fig. 31, page 223. Is it not a fact that the heavier and coarser lines, characterising the first of these, give one an entirely different conception of the degree of mental energy exerted by the artist than do the lighter and finer lines, characterising the second? From the first we receive an impression of strength; from the second, an impression of delicacy. Were the two produced by different artists, we might infer that the difference in their styles was owing to a difference in their mental characteristics. But notice, now, that there is a reason outside of the mind of the artist for the manifestation of energy in the one sketch, and of a lack of energy in the other. The heavy lines are representative not merely of the artist's own moods, but of these as excited by what he has seen, and with which, therefore, his moods are in sympathy. Nothing, so well as such lines, could manifest the impetuous fury of the storm, the violent swaying of the trees, or the resisting strength of these and of the rocks. Nor could anything, so well as the delicate lines, represent the restful gentleness of the other scene, the trees of which look as if unable to stand the slightest blow, and the shores of

which seem ready to yield to the feeblest flood. Again observe in Fig. 3, page 19, the comparatively fine lines or the lack of lines used in the delineation of the texture of the marble and of the flowers. Is it not a fact that these differences in the shading or strength of lines, in such cases, can be rightly termed representative both of mental and of material conditions?

Of course, the same general principles must apply to lines produced through the use of colour. "By a few strokes," says Reynolds, in his eleventh "Discourse on Painting," "Titian knew how to mark the general image and character of whatever object he attempted." "Touch," says Charles Blanc in his "Grammar of Painting and Engraving," translated by K. N. Doggett-" touch is the handwriting of the painter, the stroke of his mind. Leonardi da Vinci treated all his pictures with equal touch, smooth and melting. Titian himself made little difference, and only in the 'Peter Martyr' and 'The Assumption' he seems led by his subject to accents more animated, more marked than usual. Poussin, painting 'Pyrrhus Saved' or the 'Rape of the Sabines,' treats his painting with a manly hand and intentional rudeness, while he guides the pencil with more gentleness when he represents 'Rebecca' and her companions."

The same differences between the representative effects of strength in outline are perceptible in sculpture also. In the Laocoon (Fig. 19, page 123), notice the feeling of energy and strength conveyed by the way in which the serpent and the human limbs are projected from the deep shadows which the arrangement of them necessitates. The same is true of Michael Angelo's statue of "Giuliano de' Medici, with Figures of Night and Day" (Fig. 8, page 96). In this not only the arrangement of the limbs, but