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

THE BIRTH OF VENUS. BOTTICELLI (FLORENCE)

A beautiful example of Botticelli's refined line rhythm. (See diagram on opposite page for a.n.a.lysis.)

_Photo Anderson_]

In both cases note the way the lines lead up to the princ.i.p.al subject, and the steadying power introduced by means of horizontal, vertical, and other straight lines. Veronese has contented himself with keeping a certain horizontal feeling in the sky, culminating in the straight lines of the horizon and of the sea edge. And he has also introduced two pyramids, giving straight lines in among the trees, the most p.r.o.nounced of which leads the eye straight on to the princ.i.p.al head.

Botticelli has first the long line of the horizon echoed in the ground at the right-hand lower corner. And then he has made a determined stand against the flow of lines carrying you out of the picture on the right, by putting straight, upright trees and insisting upon their straightness.

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

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

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

THE RAPE OF EUROPA. BY PAOLO VERONESE (VENICE)

A composition of rich full forms and rich full colour. (See the diagram on opposite page for a.n.a.lysis of line rhythm.)

_Photo Anderson_]

Another rhythmic form the lines at the basis of a composition may take is a flame-like flow of lines; curved lines meeting and parting and meeting again, or even crossing in one continual movement onwards. A striking instance of the use of this quality is the work of the remarkable Spanish painter usually called El Greco, two of whose works are here shown (page 172 [Transcribers Note: Plate XL]). Whatever may be said by the academically minded as to the incorrectness of his drawing, there can be no two opinions as to the remarkable rhythmic vitality of his work. The upward flow of his lines and the flame-like flicker of his light ma.s.ses thrills one in much the same way as watching a flaring fire. There is something exalting and stimulating in it, although, used to excess as he sometimes uses it, it is apt to suffer from lack of repose. Two examples of his pictures are reproduced here, and ill.u.s.trate his use of this form of movement in the lines and ma.s.ses of his compositions. Nowhere does he let the eye rest, but keeps the same flickering movement going throughout all his ma.s.ses and edges. The extraordinary thing about this remarkable painter is that while this restless, unrestrained form of composition makes his work akin to the rococo work of a later period, there is a fiery earnestness and sincerity in all he does, only to be matched among the primitive painters of the fourteenth and fifteenth centuries, and very different from the false sentiment of the later school.

Blake was also fond of this flame line, but usually used it in combination with more straight lines than the energetic Spaniard allowed himself. Plates III and V in the Job series are good examples of his use of this form. In both cases it will be seen that he uses it in combination with the steadying influence of straight lines, which help to keep the balance and repose necessary in the treatment of even the most violent subjects in art.

A continual interruption in the flow of lines, and a harsh jarring of one against another in an angular, jagged fashion, produces a feeling of terror and horror. A streak of fork lightning is a natural example of this. The plate of Blake's No. XI, p. 148 [Transcribers Note: Plate x.x.xII], reproduced here, is also a good example. I have had it put sideways on so that you may see that the look of horror is not only in the subject but belongs to the particular music of line in the picture.

The effect of the harsh contrasts in the lines is further added to by the harsh contrasts of tone: everywhere hard lights are brought up against hard darks. Harsh contrasts of tone produce much the same look of terror as harsh contrasts of line. Battle pictures are usually, when good, full of these clashes of line and tone, and thrilling dramatic effects in which a touch of horror enters are usually founded on the same principle. In the picture by Paolo Uccello in the National Gallery, reproduced on page 170 [Transcribers Note: Plate x.x.xIX], a milder edition of this effect is seen. The artist has been more interested in the pageantry of war and a desire to show off his newly-acquired knowledge of perspective, than anything very terrible. The contrasts of line are here but confined to the smaller parts, and there are no contrasts of light and shade, chiaroscuro not being yet invented.

However, it will be seen by the accompanying diagram how consistently the harsh contrasts of line were carried out in the planning of this picture. Notice the unconscious humour of the foreshortened spears and figure carefully arranged on the ground to vanish to the recently discovered vanishing point.

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

SHOWING THE CLASH OF LINES IN SYMPATHY WITH THE MARTIAL NATURE OF THIS SUBJECT.]

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

BATTLE OF ST. EGIDIO. PAOLO UCCELLO (NATIONAL GALLERY)

Ill.u.s.trating the effect of jarring lines in composition. (See diagram on opposite page.)

_Photo Morelli_]

Lines radiating in smooth curves from a common centre are another form employed to give unity in pictorial design. The point from which they radiate need not necessarily be within the picture, and is often considerably outside it. But the feeling that they would meet if produced gives them a unity that brings them into harmonious relationship.

There is also another point about radiating lines, and that is their power of setting up a relationship between lines otherwise unrelated.

Let us try and explain this. In Panel A, page 174 [Transcribers Note: Diagram XVIII], are drawn some lines at random, with the idea of their being as little related to each other as possible. In B, by the introduction of radiating lines in sympathy with them, they have been brought into some sort of relationship. The line 1-2 has been selected as the dominating line, and an a.s.sortment of radiating ones drawn about it. Now, by drawing 7-8, we have set up a relationship between lines 3-4, 5-6, and 1-2, for this line radiates with all of them. Line 9-10 accentuates this relationship with 1-2. The others echo the same thing.

It is this echoing of lines through a composition that unites the different parts and gives unity to the whole.

The crossing of lines at angles approaching the right angle is always harsh and somewhat discordant, useful when you want to draw attention dramatically to a particular spot, but to be avoided or covered up at other times. There is an ugly clash of crossing lines in our original scribble, and at C we have introduced a ma.s.s to cover this up, and also the angles made by line 3-4 as it crosses the radiating lines above 1-2.

With a small ma.s.s at 11 to make the balance right, you have a basis for a composition, Diagram C, not at all unpleasing in arrangement, although based on a group of discordant lines drawn at random, but brought into harmony by means of sympathetic radiation.

[Ill.u.s.tration: Plate XL.

THE ASCENSION OF CHRIST. BY DOMINICO THEOTOCOPULI CALLED EL GRECO.

Note the flame-like form and flow of the light ma.s.ses, and the exalted feeling this conveys.

_Photo Anderson_]

[Ill.u.s.tration: Plate XLI.

THE BAPTISM OF CHRIST. BY DOMINICO THEOTOCOPULI CALLED EL GRECO

Another example of his restless, flame-like composition.

_Photo Anderson_]

In Panel D the same group is taken, but this time line 3-4 is used as the dominant one. Line 7-8 introduces 3-4 to 1-2, as it is related to both. Lines 9-10 and 11-12 introduce 3-4 to 5-6, as they are related to both, and the others follow on the same principle. By introducing some ma.s.ses covering up the crossings, a rhythmic basis for a composition (Diagram E) entirely different from C is obtained, based on the same random group.

In Panel F, 1-2 has been taken as the dominant line, and sympathetic lines drawn on the same principle as before. By again covering the crossings and introducing balancing ma.s.ses we obtain yet another arrangement from the same random scribble.

I would suggest this as a new game to students, one giving another two or three lines drawn in a panel at random, the problem being to make harmonious arrangements by the introduction of others radiating in sympathy.

Often in a picture certain conditions are laid down to start with; something as ugly as our original group of lines drawn at random has to be treated pictorially, and it is by means such as here suggested that its discordancy can be subdued and the whole brought into harmony with the shape of your panel. The same principles apply in colour, discordant notes can be brought into harmony by the introduction of others related to both the original colours, thus leading the eye from one to the other by easy stages and destroying the shock. Somewhat in the way a musician will take you from one key into another very remote by means of a few chords leading from the one to the other; whereas, had he taken you straight there, the shock would have been terrible. As it is, these transitions from one key into another please and surprise one, and are very effective.

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

SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONY BY THE INTRODUCTION OF OTHERS IN SYMPATHY WITH THEM.

A. LINES DRAWN AT RANDOM.

B. TAKING LINE 1-2 AS DOMINANT LINE.

C. AS AT B BUT WITH ADDITION OF Ma.s.sES TO COVER LINES CROSSING AND RESTORE BALANCE

D. TAKING LINE 3-4 AS DOMINANT LINE

E. AS AT D BUT WITH ADDITION OF Ma.s.sES TO COVER LINES CROSSING AND GIVE BALANCE

F. TAKING LINE 5-6 AS DOMINANT LINE

G. AS AT F BUT WITH Ma.s.sES TO COVER LINES CROSSING & TO GIVE BALANCE]

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

SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONY BY THE INTRODUCTION OF OTHERS IN SYMPATHY WITH THEM.