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ence between Visualising Thought and Not Visualising it-
Illustrations-Non-imaginative Effect of Poetry that does Not
Suggest Sights-Non-success of Poetry Too exclusively Musical.
CHAPTER X.
THE DIFFERENT ARTS AS REPRESENTING DIFFERENT
PHASES OF MENTAL CONCEPTION-CONTINUED 155-176
Persuasion and Oratory-The Conditions of Mind Represented in
the Arts of Sight-In Landscape Gardening--In Painting-The
Different Conditions Expressed in Poetry and in Painting-Bearings
of this Fact upon Poetry-Theory of Lessing-Objection to the
Theory-Importance of the Theory Illustrated in Poetry-Other
Examples-Applied to Methods of Poetic Description-By Talfourd
-Crabbe-Wordsworth-Tennyson-Some Subjects Unfit for
Paintings-Others-Allegorical Paintings-Same Subjects Possible
to Poetry and Painting, if Treated Differently—Painting can
Suggest More Movement than Sculpture-And, on Account of
Colour, More Variety in the Number and Sizes of Objects;
Also More Minuteness and Triviality-Architecture as Originated
-As Influenced by Methods of Painting and of Sculpture-
Deterioration on account of this—Recapitulation with Reference
to Forms of Representation in Arts of Sight-Correspondences
Between Architecture and Music-Conclusion.
CHAPTER XI.
DIFFERENCES IN THE SAME ART AS REPRESENTING
DIFFERENT DEGREES OF CONSCIOUS OR SUB-
CONSCIOUS MENTAL ACTION
177-194
The Balance between Influence upon the Conscious and Sub-
conscious Mind—Religious, Scientific, and Artistic Conceptions-
Expressed in Idealism, Realism, and Idealised Realism-In the
Good, True, and Beautiful; the Sublime, Picturesque, and Brilliant ;
the Grand, Simple, and Striking-The Sublime-Illustrations-
The Picturesque-The Brilliant-Distinction between the Beauti-
ful and the Brilliant-The Grand as Allied to the Horrible-The
Simple to the Pathetic-The Striking to the Violent-True in All
the Arts-The Epic-The Realistic-The Dramatic-Aim of
Epic-Recital-Of Realistic-Of Dramatic-Epic Art-Products-
Realistic-Historic-The Historic Distinguished From the Dra-
matic-Dramatic Poetry: Lyrics-Dramatic Character-Painting-
Genre Painting-Dramatic Painting Proper-Historic Distin-
guished from Dramatic Sculpture - Practical Object of these
Distinctions.
CHAPTER XII.
REPRESENTATION IN THE ELEMENTS OF FORM, IN
THE ARTS OF SOUND
195-212
Recapitulation-Necessity of Studying the Elements of Repre-
sentation-Especially as Produced through the Vocal Organs and
Hands-In the Arts of Elocution and Gesture-Meanings of the
Elements of Sound in Elocution-Duration Representing Mental
Measurement in Music-In Poetry-Force Representing Mental
Energy in Music-In Poetry-Pitch Representing Mental Aim or
Motive-Directions of Pitch in Elocution-Principle Further
Illustrated-Different Meanings of the Same Phraseology when
Differently Intoned-The Same Principle Fulfilled in Music-In
Modern Melodies-Other Illustrations-In Poetry-Illustrations
-Quality Representing Mental Feelings-In Elocution-Analogies
in Nature-In Music-In Imitative Music-Different Qualities in
Music-In Poetry; Imitative Effects-Associative Effects.
Correspondences in Arts of Sound and of Sight-Size Representing
Mental Estimate-This Fact and Effects of Significance in Beauty
-Large Size and Nearness-Same Principles in Architecture-
Résumé-Massiveness or Touch Representing Mental Energy in
Drawing-Painting-Sculpture - Architecture - Outlines Repre-
senting Mental Motive-Their Meanings in the Human Form-
In Gestures of the Hands-Fist-Finger-Full Hand-Closing
Gesture-Opening Gesture-Movements of Arms-Gestures In-
ward and Outward - Dramatic Gestures-General Actuating
Motives Represented in the Gestures-Analogous Meanings in
Natural Scenery, of Curves-Of Straight Lines and Angles-As
Indicated by a man's Use of them in Landscape-Gardening-In
Painting-In Sculpture-In Architecture-Quality in Tone Repre-
senting Mental Feeling Finds Analogy in Colour-Cold and Warm
Colours-Different Colours Corresponding to Different Qualities—
Normal Tone and Cold; Orotund Tone and Warm Colour-Varied
Colours and Exciting Effects-Red and Trumpet-Examples from
Painting-Colours in Human Countenance-In Sculpture-In
Architecture-Colours in Representing Distance-Applied to Build-
ings-Mixed Colours-Black-Black with Cold Colours-With
Warm Colours-White with Cold Colours-With Warm Colours-
Conclusion.
ART-COMPOSITION
CHAPTER XIV.
269-296
Imagination Necessary in Elaborating as well as in Originating
Representative Forms of Expression-Methods of Composing
Music-Poetry-Painting, Sculpture, and Architecture-Mental
Methods in Art-Composition Analogous to Other Mental Methods
-To that in Classification-How Art-Classification Differs from
Ordinary Classification-The Method of Classification not Incon-
sistent with Representing the Artist's Thoughts and Emotions-Or
with Representing Nature-Explanation-Artist Influenced by
Mental and Material Considerations-Methods of Art-Composition
are Methods of Obtaining Unity of Effect-Obtained in Each Art
by Comparison, or Putting Like with Like-Variety in Nature
Necessitating Contrast-Contrast in Each Art—Also Complexity
-Complement-Order and Group-Form-Confusion and Counter-
action-Principality and Subordination-Balance-Distinguished
from Complement and Counteraction-Principality in Music and
Poetry-Subordination and Balance in the Same-Principality in
Painting and Sculpture-In Architecture-Organic Form-In
Music-In Poetry-In Painting and Sculpture-In Architecture.
CHAPTER XV.
ART-COMPOSITION-CONTINUED
297-319
Congruity, Incongruity, and Comprehensiveness-Central-Point,
Setting, and Parallelism-In Music and Poetry-In Arts of Sight—
Symmetry-Repetition, Alteration, and Alternation in Music and
Poetry-In Arts of Sight-Massing in Music and Poetry- Massing
or Breadth in Painting-Illustrations-In Sculpture and Archi-
tecture-Interspersion and Complication-Continuity-Music and
Poetry-In Arts of Sight-Consonance-Distinguished from Con-
gruity and Repetition-Dissonance and Interchange-The Latter
in Painting-Gradation and Abruptness-In Music and Poetry-
Transition in Same Arts-Gradation and Abruptness in Colour-
In Outline-In Architecture-Progress in Painting and Sculpture
-In Architecture-Completeness of this Analysis of the Methods
of Art-Composition.
CHAPTER XVI.
RHYTHM AND PROPORTION
-
320-358
Rhythm Not Originated by Art-It Exists in Nature-In Nerve
Action-Required by the Natural Action of the Mind-Elements
of Rhythm existing in Speech-How Developed in Metre and
Verse-In Music-Poetic Measures-General Comment―Meaning
of Proportion-Result of a Natural Tendency to Make Like Meas-
urements-Manifested Everywhere-Proportion in Nature-An
Important Art-Principle-Result of Comparing Measurements Not
actually Made, but Possible to Make Not actually Alike, but
Apparently So-Proportion Puts Like Measurements with Like-
Fulfilling Principles in Chapters XIV. and XV.-Why Proportional
Ratios must be Represented by Small Numbers-How Larger
Numbers may be Used - Rectilinear Proportions - Of Allied
Rectangles Of Irregular Complex Figures-Must be Accom-
panied by Outlines of Simple and Regular Figures-Proportions of
Human Form and Clothing-Countenance-Greek Type of Face
Not the Only Beautiful One-Why Other Types may Seem
Beautiful-Proportions of Human Body Indicated by Circles and
Ellipses-Binocular Vision-Its Relation to Ellipses-Why the
Curve is the Line of Beauty-Shapes of Vases--Relation of Like
Curves to Proportion Illustrated in Curves of the Human Form-
The Effects of Rhythm and of Harmony Illustrate the Same
Principle-What Causes Loudness and Pitch of Tone-What
Causes Quality-Musical Tones Compounded of Partial Tones
Caused by Vibrations Related as 1:2, 2:3, etc.-These Partial
Tones are Merely Repeated in Scales-And Chords-Musical
Harmony Results from Putting Together Notes Having Like
Partial Effects-This True of the Most Complex Arrangements→→→
True of Poetic Harmony.
CHAPTER XVIII.
HARMONY Of Colour in THE ARTS OF Sight 367-386
Production of the Colours of the Spectrum-Effect of Light upon
Colours-Definition of Terms-Complementary Colours-As Pro-
duced by Light and by Pigments-The After-Image in Consecutive
Contrast-Simultaneous Contrast-All Colours Impart about them
Tints of their Complementaries--Principles Determining Use To-
gether of Two Colours-Of Three Colours-Of Four Colours-Con-
secutive and Simultaneous Contrast Due to Physiological Action
of the Eye-Correspondences Between Ratios of Harmonic Colours
and Tones-Owing to Minuteness of Colour-Waves Nothing in
Colours Corresponds to the Different Scales in Music-The Ratio
of the Two Notes Forming the Most Perfect Consonance in a Single
Musical Scale-This Ratio as Represented Among the Colours
-Colour Harmony as Actually Developed-Not From Ratios Occa-
sioning Vibrations, but from Analysis of Light-The Field-
Theory of Colour-Harmony-Theory Based on Psychological Effects
-On Physiological Effects-Tone, or the Predominant Use of One
Colour, in a Painting-Why this may Fulfil the Same Principle of
Harmony as the Use of Great Variety of Colour-Colour Harmony
Results from an Application to Colour of All the Principles
Unfolded in Chapters XIV. and XV.-Beauty in Art-And
Suggestion--Conclusion.
INDEX
391-404