If we entirely destroy the vertical feeling and bend our trees, as at F, the expression of much energy will be the result, and a feeling of the stress and struggle of the elements introduced where there was perfect calm.

It is the aloofness of straight lines from all the fuss and flurry of variety that gives them this calm, infinite expression. And their value as a steadying influence among the more exuberant forms of a composition is very great. The Venetians knew this and made great use of straight lines among the richer forms they so delighted in.

It is interesting to note how Giorgione in his "Fete Champetre" of the Louvre (see ill.u.s.tration, page 151 [Transcribers Note: Plate x.x.xIII]), went out of his way to get a straight line to steady his picture and contrast with the curves. Not wanting it in the landscape, he has boldly made the contour of the seated female conform to a rigid straight line, accentuated still further by the flute in her hand. If it were not for this and other straight lines in the picture, and a certain squareness of drawing in the draperies, the richness of the trees in the background, the full forms of the flesh and drapery would be too much, and the effect become sickly, if not positively sweet. Van Dyck, also, used to go out of his way to introduce a hard straight line near the head in his portraits for the same reason, often ending abruptly, without any apparent reason, a dark background in a hard line, and showing a distant landscape beyond in order to get a light ma.s.s to accentuate the straight line.

[Ill.u.s.tration: Diagram X.

ILl.u.s.tRATING, A, CALM RHYTHMIC INFLUENCE OF HORIZONTAL LINES SUCH AS A SUNSET OVER THE SEA MIGHT GIVE; B, INTRODUCTION OF LINES CONVEYING SOME ENERGY; C, SHOWING DESTRUCTION OF REPOSE BY FURTHER CURVING OF LINES.

THE CALM EVENING HAS BECOME A WINDY ONE.]

[Ill.u.s.tration: Diagram XI.

ILl.u.s.tRATING, D, RHYTHMIC INFLUENCE OF VERTICAL LINES; E, THE INTRODUCTION OF SOME VARIETY; F, THE DESTRUCTION OF THE VERTICAL AND CONSEQUENT LOSS OF REPOSE.]

The rich modelling and swinging lines of the "Bacchus and Ariadne" of t.i.tian in the National Gallery, here reproduced, page 154 [Transcribers Note: Plate x.x.xIV], would be too gross, were it not for the steadying influence of the horizontal lines in the sky and the vertical lines of the tree-trunks.

While speaking of this picture, it might not be out of place to mention an idea that occurred to me as to the reason for the somewhat aggressive standing leg of the female figure with the cymbals leading the procession of revellers. I will not attempt any a.n.a.lysis of this composition, which is ably gone into in another book of this series. But the standing leg of this figure, given such prominence in the composition, has always rather puzzled me. I knew t.i.tian would not have given it that vigorous stand without a good reason. It certainly does not help the run of the composition, although it may be useful in steadying it, and it is not a particularly beautiful thing in itself, as the position is one better suited to a man's leg than to a woman's. But if you cover it over with your finger and look at the composition without it, I think the reason of its prominence becomes plainer. t.i.tian evidently had some trouble, as well he might have, with the forward leg of the Bacchus. He wished to give the look of his stepping from the car lightly treading the air, as G.o.ds may be permitted to do. But the wheel of the car that comes behind the foot made it difficult to evade the idea that he was stepping on it, which would be the way an ordinary mortal would alight. I think the duty of the aggressive standing leg of the leading Bacchante, with its great look of weight, is to give a look of lightness to this forward leg of Bacchus, by contrast--which it certainly does. On examining the picture closely in a good light, you will see that he has had the foot of Bacchus in several positions before he got it right. Another foot can distinctly be seen about a couple of inches or so above the present one. The general vertical direction of this leg is also against its look of lightness and motion, tending rather to give it a stationary, static look. I could not at first see why he did not bring the foot further to the right, which would have aided the lightness of the figure and increased its movement. But you will observe that this would have hurled the whole weight of the ma.s.s of figures on the right, forward on to the single figure of Ariadne, and upset the balance; as you can see by covering this leg with your finger and imagining it swinging to the right. So that t.i.tian, having to retain the vertical position for Bacchus' forward leg, used the aggressive standing leg of the cymbal lady to accentuate its spring and lightness.

[Ill.u.s.tration: Plate x.x.xIV.

BACCHUS AND ARIADNE. t.i.tIAN

_Photo Hanfstaengl_]

A feeling of straight-up-ness in a figure or of the horizontal plane in anything will produce the same effect as a vertical or horizontal line without any actual line being visible. Blake's "Morning Stars Singing Together" is an instance of the vertical chord, although there is no actual upright line in the figures. But they all have a vigorous straight-up-ness that gives them the feeling of peace and elevation coupled with a flame-like line running through them that gives them their joyous energy.

[Ill.u.s.tration: Diagram XII.

A, B, C]

[Sidenote: The Right Angle]

The combination of the vertical with the horizontal produces one of the strongest and most arresting chords that you can make, and it will be found to exist in most pictures and drawings where there is the expression of dramatic power. The cross is the typical example of this.

It is a combination of lines that instantly rivets the attention, and has probably a more powerful effect upon the mind--quite apart from anything symbolised by it--than any other simple combinations that could have been devised. How powerful is the effect of a vertical figure, or even a post, seen cutting the long horizontal line of the horizon on the sea-sh.o.r.e. Or a telegraph post by the side of the road, seen against the long horizontal line of a hill at sunset. The look of power given by the vertical lines of a contracted brow is due to the same cause. The vertical furrows of the brow continuing the lines of the nose, make a continuous vertical which the horizontal lines of the brow cross (see Fig. A in the ill.u.s.tration). The same cause gives the profile a powerful look when the eyebrows make a horizontal line contrasting with the vertical line of the forehead (Fig. B). Everybody knows the look of power a.s.sociated with a square brow: it is not that the square forehead gives the look of a larger brain capacity, for if the forehead protrudes in a curved line, as at C, the look of power is lost, although there is obviously more room for brains.

This power of the right angle is well exemplified in Watts' "Love and Death," here reproduced, page 158 [Transcribers Note: Plate x.x.xV]. In this n.o.ble composition, in the writer's opinion one of the most sublime expressions produced by nineteenth-century art, the irresistible power and majesty of the slowly advancing figure of Death is largely due to the right angle felt through the pose. Not getting it in the contour, Watts has boldly introduced it by means of shading the farther arm and insisting on the light upper edge of the outstretched arm and hand, while losing somewhat the, outline of the head beyond. Note also the look of power the insistence on square forms in the drapery gives this figure. The expression is still further emphasised by the hard square forms of the steps, and particularly by the strong horizontal line of the first step so insisted on, at right angles to the vertical stand of the figure; and also the upright lines of the doorway above. In contrast with the awful sublimity of this figure of Death, how touching is the expression of the little figure of Love, trying vainly to stop the inevitable advance. And this expression is due to the curved lines on which the action of the figure is hung, and the soft undulating forms of its modelling. Whereas the figure of Death is all square lines and flat crisp planes, the whole hanging on a dramatic right angle; this figure is all subtle fullness both of contour and modelling melting one into the other, the whole hung upon a rich full curve starting at the standing foot of the advancing figure. And whereas the expression of Death is supported and emphasised by the hard, square forms and texture of the stone steps, the expression of Love is supported and emphasised by the rounded forms and soft texture of the cl.u.s.tering roses. On this contrast of line and form, so in sympathy with the profound sentiment to which this picture owes its origin, the expressive power of this composition will be found to depend.

[Ill.u.s.tration: Diagram XIII.

ILl.u.s.tRATING SOME OF THE LINES ON WHICH THE RHYTHMIC POWER OF THIS PICTURE DEPENDS.]

[Ill.u.s.tration: Plate x.x.xV.

LOVE AND DEATH. BY G.F. WATTS

A n.o.ble composition, founded on the power of the right angle in the figure of Death, in contrast with the curved lines in the figure of Love. (See diagram opposite.)

_Photo Hollyer_]

In the diagram accompanying the reproduction of this picture I have tried to indicate in diagrammatical form some of the chief lines of its anatomy.

In these diagrams of the anatomy of compositions the lines selected are not always very obvious in the originals and are justly much broken into by truths of natural appearance. But an emotional significance depending on some arrangement of abstract lines is to be found underlying the expression in every good picture, carefully hidden as it is by all great artists. And although some apology is perhaps necessary for the ugliness of these diagrams, it is an ugliness that attends all anatomy drawings.

If the student will trace them and put his tracing over the reproductions of the originals, they will help him to see on what things in the arrangement the rhythmic force of the picture depends.

Other lines, as important as those selected, may have been overlooked, but the ones chosen will suffice to show the general character of them all.

There is one condition in a composition, that is laid down before you begin, and that is the shape of your panel or canvas. This is usually a rectangular form, and all the lines of your design will have to be considered in relation to this shape. Vertical and horizontal lines being parallel to the boundaries of rectangular pictures, are always right and immediately set up a relationship, as we have seen.

The arresting power of the right angle exists at each corner of a rectangular picture, where the vertical sides meet the horizontal base, and this presents a difficulty, because you do not wish the spectator's attention drawn to the corners, and this dramatic combination of lines always attracts the eye. A favourite way of getting rid of this is to fill them with some dark ma.s.s, or with lines swinging round and carrying the eye past them, so that the attention is continually swung to the centre of the picture. For lines have a power of directing the attention, the eye instinctively running with them, and this power is of the greatest service in directing the spectator to the princ.i.p.al interest.

It is this trouble with the corners that makes the problem of filling a square so exacting. In an ordinary rectangular panel you have a certain amount of free s.p.a.ce in the middle, and the difficulty of filling the corners comfortably does not present itself until this s.p.a.ce is arranged for. But in a square, the moment you leave the centre you are in one or other of the corners, and the filling of them governs the problem much more than in the case of other shapes. It is a good exercise for students to give themselves a square to fill, in order to understand this difficulty and learn to overcome it.

Other lines that possess a direct relation to a rectangular shape are the diagonals. Many compositions that do not hang on a vertical or horizontal basis are built on this line, and are thus related to the bounding shape.

[Ill.u.s.tration: Plate x.x.xVI.

THE SURRENDER OF BREDA VELAZQUEZ (PRADO)

_Photo Anderson_]

When vertical, horizontal, or diagonal lines are referred to, it must not be a.s.sumed that one means in all cases naked lines. There is no pure vertical line in a stone pine or cypress tree, nor pure horizontal line in a stretch of country, but the whole swing of their lines is vertical or horizontal. And in the same way, when one speaks of a composition being hung upon a diagonal, it is seldom that a naked diagonal line exists in the composition, but the general swing is across the panel in harmony with one or other diagonal. And when this is so, there is a unity set up between the design and its boundaries. A good instance of vertical, horizontal, and diagonal lines to unite a picture is Velazquez's "The Surrender of Breda," here reproduced. Note the vertical chord in the spears on the left, continued in the leg of the horse and front leg of the figure receiving the key, and the horizontal line made by the dark ma.s.s of distant city, to be continued by the gun carried over the shoulder of the figure with the slouch hat behind the princ.i.p.al group. Velazquez has gone out of his way to get this line, as it could hardly have been the fashion to carry a gun in this position, pointing straight at the head of the man behind. Horizontal lines also occur in the sky and distant landscape, one running right through the group of spears. The use of the diagonal is another remarkable thing in the lines of this picture. If you place a ruler on the slanting line of the flag behind the horse's head to the right, you find it is exactly parallel to a diagonal drawn from the top right-hand corner to the lower left-hand corner. Another line practically parallel to this diagonal is the line of the sword belonging to the figure offering the key, the feeling of which is continued in the hand and key of this same figure.

It may be noted also that the back right leg of the horse in the front is parallel to the other diagonal, the under side of it being actually on the diagonal and thus brought into relation with the bounding lines of the picture. And all these lines, without the artifice being too apparent, give that well-knit, dignified look so in harmony with the nature of the subject.

[Sidenote: Curved Lines]

Curved lines have not the moral integrity of straight lines. Theirs is not so much to minister to the expression of the sublime as to woo us to the beauteous joys of the senses. They hold the secrets of charm. But without the steadying power of straight lines and flatnesses, curves get out of hand and lose their power. In architecture the rococo style is an example of this excess. While all expressions of exuberant life and energy, of charm and grace depend on curved lines for their effect, yet in their most refined and beautiful expression they err on the side of the square forms rather than the circle. When the uncontrolled use of curves approaching the circle and volute are indulged in, unrestrained by the steadying influence of any straight lines, the effect is gross.

The finest curves are full of restraint, and excessive curvature is a thing to be avoided in good drawing. We recognise this integrity of straight lines when we say anybody is "an upright man" or is "quite straight," wishing to convey the impression of moral worth.

Rubens was a painter who gloried in the unrestrained expression of the zeal to live and drink deeply of life, and glorious as much of his work is, and wonderful as it all is, the excessive use of curves and rounded forms in his later work robs it of much of its power and offends us by its grossness. His best work is full of squarer drawing and planes.

#Always be on the look out for straightnesses in curved forms and for planes in your modelling.#

Let us take our simplest form of composition again, a stretch of sea and sky, and apply curved lines where we formerly had straight lines. You will see how the lines at A, page 164 [Transcribers Note: Diagram XIV], although but slightly curved, express some energy, where the straight lines of our former diagram expressed repose, and then how in B and C the increasing curvature of the lines increases the energy expressed, until in D, where the lines sweep round in one vigorous swirl, a perfect hurricane is expressed. This last, is roughly the rhythmic basis of Turner's "Hannibal Crossing the Alps" in the Turner Gallery.

One of the simplest and most graceful forms the tying lines of a composition may take is a continuous flow, one line evolving out of another in graceful sequence, thus leading the eye on from one part to another and carrying the attention to the princ.i.p.al interests.

Two good instances of this arrangement are Botticelli's "Birth of Venus"

and the "Rape of Europa," by Paolo Veronese, reproduced on pages 166 [Transcribers Note: Diagram XV, Plate x.x.xVII] and 168 [Transcribers Note: Diagram XVI, Plate x.x.xVIII]. The Venetian picture does not depend so much on the clarity of its line basis as the Florentine. And it is interesting to note how much nearer to the curves of the circle the lines of Europa approach than do those of the Venus picture. Were the same primitive treatment applied to the later work painted in the oil medium as has been used by Botticelli in his tempera picture, the robustness of the curves would have offended and been too gross for the simple formula; whereas overlaid and hidden under such a rich abundance of natural truth as it is in this gorgeous picture, we are too much distracted and entertained by such wealth to have time to dwell on the purity of the line arrangement at its base. And the rich fullness of line arrangement, although rather excessive, seen detached, is in keeping with the sumptuous luxuriance the Venetian loved so well to express. But for pure line beauty the greater restraint of the curves in Botticelli's picture is infinitely more satisfying, though here we have not anything like the same wealth and richness of natural appearance to engage our attention, and the innocent simplicity of the technique leaves much more exposed the structure of lines, which in consequence play a greater part in the effect of the picture.

[Ill.u.s.tration: Diagram XIV.

ILl.u.s.tRATING POWER OF CURVED LINES TO CONVEY ENERGY. A, B, C, D.]

[Ill.u.s.tration: Diagram XV.

ILl.u.s.tRATING THE FLOW OF LINES ON WHICH THE RHYTHMIC UNITY OF THIS PICTURE DEPENDS.]