File:The Genesis of art-form - an essay in comparative easthetics showing the identity of the sources, methods, and effects of composition in music, poetry, painting, sculpture and architecture (1909) (14577032748).jpg

Identifier: genesisofartform00raym (find matches)
Title: The Genesis of art-form : an essay in comparative easthetics showing the identity of the sources, methods, and effects of composition in music, poetry, painting, sculpture and architecture
Year: 1909 (1900s)
Authors: Raymond, George Lansing, 1839-1929
Subjects:
Publisher: New York : G.P. Putnam's Sons
Contributing Library: Princeton Theological Seminary Library
Digitizing Sponsor: Princeton Theological Seminary Library

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FIG. 45.—FROM GiOUP OF NIOBE AT FLORENCE.See pages 16, 144, 204, 257, 29S. horizontal openings, or, at times, with the round Romanarch ; while the slender shafts and buttresses, gargoylesand other ornaments of the Gothic style are used withsharp or pointed arches. But so far as the appearance offorms alone is concerned, there is no reason why certainfeatures of the Greek style should not accompany certainof the Gothic. To use them together would not violate inthe least the fundamental principle of art, that like forms
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FIG. 46.—TRANSFIGURATION.-RAPHAEL.See pages 72, 82, 116, iiS, 14S, 257. 148 THE GENESIS OF ART-FORM. should be put with like. At the same time, to do so wouldcause art to associate features that have come to be clearlydissociated in the mind. For this reason, it is possiblethat, as long as the world lasts, no artist can mix themextensively without suggesting to some an amount ofincongruity wholly inconsistent with those effects of imityinvariably present in arts of the highest character. The reference just made to Wagners overture to Tann-hauser suggests mentioning a painting in which the effectsof incongruity and coiiipi-cJicnsivcncss noticed as char-acterizing the overture, are almost exactly paralleled. Itis Raphaels Transfiguration, Fig. 46, page 147. At thetop of this picture, supposed to represent the summit ofthe mount, are the glorified forms of Christ, Moses, andElias, prostrate beneath whom are the apostles present atthe scene, evidently greatly affected by it. As suits th

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