either the wind or the stringed instruments, we know that, as in the orchestration which in Wagner's "Siegfried" accompanies the hero's encounter with the dragon, they represent the presence of that which inspires to awe and horror such as, in the human voice, we associate with the pectoral quality. The resemblance to this tone in its milder forms is that which imparts a solemn effect to some of the music of the church organ. When again the predominating sounds are those of the wood-instrumentsthe clarinet, the flute, even, to some extent, the organ-we feel that these represent the gently satisfied mood, the peaceful contemplation which, in elocution, is indicated by pure or normal quality. When, instead of the wooden wind instruments, we hear the metallic, as either in the organ or in trumpets and instruments of similar character, we feel that these represent the more profound emotions, the admiration, enthusiasm, courage, determination, that we are accustomed to associate with elocutionary orotund quality. To such music we expect to see troops march on to the stage, as in the Soldiers' Chorus in Gounod's 'Faust," giving vent to their confidence in anticipation of victory, or to their joy in view of its accomplishment. Once more, when we hear the stringed instruments we recognise that it is their peculiar function to impart intensity of feeling, just as is true of the elocutionary aspirated quality. Hence, the reason for the use of the violins in that scene in Wagner's "Meistersinger" which takes place in the house of Hans Sachs; or in the Venus music of his "Tannhauser"; or in the waltz music of Gounod's “Faust." Just as in the case of the elocutionary aspirate, too, so here the effects of these stringed instruments may partake of those of any of the other instruments. Not only when associated, as in orchestral music, with the instruments that have been mentioned, but even when not associated with these, the sharper tones of the strings suggest the aspirated guttural, their lower hollow tones the aspirated pectoral, their struck tones as in the piano, the guitar, and the harp, the aspirated pure, or normal, and their tones as produced by the bow, the aspirated orotund. Those familiar with poetry will recognise, at once, how the principles just mentioned apply to it. Here, produced by the quality of tone necessitated in uttering certain vowels or consonants, are distinctively imitative effects: Of the sounds of a knife when carving: Ancient rosaries, Laborious orient ivory, sphere in sphere. The Princess: Tennyson. And here of the loud dashing and soft rippling of waves; Roared as when the rolling breakers boom and blanch on the precipices. Boadicea: Idem. The murm'ring surge That on the unnumber'd idle pebbles chafes. Lear, iv., 6: Shakespeare. And in this, of ice and rocks resounding with the clanging of armour and footsteps: The bare black cliff clanged round him as he based His feet on juts of slipp'ry crag that rang Sharp smitten with the dint of armèd heels. Mort d' Arthur: Tennyson. And in this, of the roar and clash of warriors with their weapons and chariots: Arms on armour clashing bray'd Horrible discord, and the madding wheels Of brazen chariots raged. Paradise Lost, 6: Milton. And in this, the clear, crisp atmosphere of a winter's evening: How they tinkle, tinkle, tinkle in the icy air of night, While the stars that oversprinkle all the heaven seem to twinkle The Bells: Poe. And here are associative effects produced by the likeness of the sounds of s and ≈ to the elocutionary hissing aspirate, indicating amazement, affright, indignation, and contempt: You shall digest the venom of your spleen Tho' it do split you; for from this day forth I'll use you for my mirth-yea, for my laughter- Julius Cæsar, iv., 3: Shakespeare. Now crack thy lungs, and split thy brazen pipe; Out-swell the colic of puff'd Aquilon. Troilus and Cressida, iv., 5: Shakespeare. By the likeness of the sound of g to the elocutionary guttural tone indicating hostility: How the garden grudged me grass Where I stood-the iron gate Ground his teeth to let me pass. A Serenade at the Villa: R. Browning. By the likeness of the sounds of au, ou, and oi to the elocutionary pectoral indicating horror: With staring countenance stern, as one astown'd, Had wrought that horror strange. Faerie Queen, 1, 8, 5: Spenser. For a charm of powerful trouble, Macbeth, iv., 1: Shakespeare. By the likeness of the sounds of s and sh to the elocutionary soft whisper indicating interest, surprise, solici tude: She gave me for my pains a world of sighs; She swore. In faith 't was strange, 't was passing strange, 'T was pitiful, 't was wondrous pitiful. Othello, i., 3: Shakespeare. By the likeness of the sounds of the short vowels to the elocutionary pure or normal tone, indicating gentle contemplation: Thoughts light, like gleams, my spirit's sky, But they will not remain ; They light me once, they hurry by, And never come again. Despondency: Matthew Arnold. And here the sounds of the long vowels and of m, n, r, and I are like those of the elocutionary orotund tone, indicating deep delight, admiration, courage, or determination: Where each old poetic mountain The Progress of Poesy: Gray. Peace and order and beauty draw Barbara Frietchie: Whittier. CHAPTER XIII. REPRESENTATION IN THE ELEMENTS OF FORM IN THE ARTS OF SIGHT. Correspondences in Arts of Sound and of Sight-Size Representing Mental Estimate-This Fact and Effects of Significance in BeautyLarge Size and Nearness-Same Principle in Architecture-Resumé― Massiveness or Touch Representing Mental Energy in Drawing-Painting-Sculpture-Architecture--Outlines Representing Mental Motive -Their Meanings in the Human Form-In Gestures of the Hands -Fist--Finger-Fullhand-Closing Gesture-Opening GestureMovements of Arms-Gestures Inward 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 Representing 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 PaintingColours in Human Countenance-In Sculpture--In Architecture-Colours in Representing Distance-Applied to Buildings-Mixed ColoursBlack-Black with Cold Colours-With Warm Colours-White with Cold Colours-With Warm Colours-Conclusion. J UST as the elements representing thought or emotion in the arts of sound are traceable, primarily, to those of elocution, so the same, in the arts of sight, are traceable, primarily, to those of gesture. It is through the use of the body, but particularly of the hands, that we learn both to recognise and to make things that have, or do not have, |