point will determine the top and bottom and sides of other figures, which, in the degree in which every dimension in them is made smaller than the form in the foreground, will appear to be, not less in actual size, but at a greater distance from the spectator. Notice the left upper illustration in Fig. 2, page 3. These laws of perspective are now so well known that their more simple effects are easy to produce. But some of them are exceedingly difficult. Take cases of foreshortening, for instance, like the representations painted by Michael Angelo on the ceiling of the Sistine Chapel of figures in all possible positions, standing, sitting, lying, and ascending in clouds,—could any one, unless very skilful as a draughtsman, produce with success such effects? Could he produce them at all, when working merely by way of imitation? Did anybody ever actually perceive figures in such positions?

ment.

There is another important effect in painting that is, perhaps, still less allied to mere imitation than any that we have yet considered. It is the effect of life or moveThe spokes of a wheel in a waggon, when standing still, have one appearance. What is their appearance when the waggon is under way? What is the appearance of a torch when waved through the air, or of the legs of a man or a horse when racing? What is the appearance of the leaves of trees or the waves of lakes when swayed by a tempest? Such effects are seldom seen with a distinct outline (see Fig. 7, page 91). To have this, an object should remain a certain length of time in one place. How can they be imitated? They cannot be. They can be merely represented. A tolling wheel is pictured, not as a compound of spokes, but as a sparkling disk, a waving torch not as a point of light, but as a

curve, and a moving form not as a stationary one, but disproportionately extended. Notice the left leg of the man in Fig. 5, page 61. It is evidently lengthened as it is, in order to represent two different positions which the eye is supposed to take in at one glance. 'Let us look at these Arab horsemen of Fromentin," says Van Dyke in his "How to Judge a Picture." "The horse of this falcon flier going at full speed has been criticised, because, forsooth, the body is too long and the hindquarters are stretched out behind instead of being compactly knit together. the whole. Is not the motion, the life, the fire, the dash superb? Could anything give us a better impression of the swiftness of flight?"

But stand back and see the effect of

The desire to convey this impression of movement with its associated ideas of life and force largely accounts for the apparent lack of imitative accuracy as well as for the presence of unmistakable exaggeration in the works of such artists as Michael Angelo (see Fig. 8, p. 96); and also for these and for what seems to be a lack of distinctness in the paintings of Blake, Millet, Diaz, Corot, and Daubigny. As Van Dyke says, in his "How to Judge a Picture":"It is the attempt of every true artist to paint not reality, but the appearance of reality"; in other words, to represent, and not merely to imitate.

All that has been said of drawing in painting applies to carving in sculpture. The method of finishing surfaces in marble or bronze, whether represented in full or in part relief, is not determined by the requirements of actual imitation, but by the appearance that the result presents, as affected by the play of light and shade upon the surfaces, and the suggestions of shape, texture, perspective, life, or movement necessarily connected with

96

FIG. 8.-TOMB OF GIULIANO DE' MEDICI WITH FIGURES OF DAY AND NIGHT.-ANGELO. See pages 95, 97, 224, 284, 295, 302.

one rather than with another mode of treatment. It would be difficult to find any human forms with muscles actually resembling those in the figures in Michael Angelo's "Tombs of the Medici," at Florence (Fig. 8, page 96). Yet the influence of light and shade upon the carving, when viewed from a distance, makes all seem wonderfully real. The perspectives represented in Fig. 9, page 97, or in Fig. 10, page 98, suggest shade and

FIG. 9. THE SOLDIER'S RETURN. FROM THE NATIONAL MONUMENT NEAR BINGEN, GERMANY.

distance as faithfully as if depicted on canvas; and the slightly elongated or contracted proportions in Baryè's bronzes of men and animals give effects of life and movement equal to any attempted in painting. Notice again. Fig. 5, page 61.

Now let us turn to architecture. To recognise the imitative element in it look at Fig. 11, page 99. Here is stonework that looks exactly as if composed of wooden pillars supporting wooden rafters. Among the remains.

of ancient architecture there are scores of examples of both interiors and exteriors corresponding in effect to this. Arguing, primarily, from them, it is now recognised with practical unanimity that the stone columns

FIG. 10. EPITOMISED STORY OF ABRAHAM. ISAAC, AND JACOB. RELIEF FROM BAPTISTRY, FLORENCE. LORENZO GHIBERTI.

and colonnades of the Greek temple (Fig. 28, page 219) were suggested by those of previous wooden structures, and that these were suggested by the series of poles, which themselves were suggested by the standing treetrunks which supported the coverings of the primitive