The Psychology of Beauty by Ethel D. Puffer (parable of the sower read online TXT) 📖

elements detected the particular function of each in distributing attention in the field of view. But while all are possibly operative in a given picture, some are given, as we have seen, much more importance than others, and in pictures of different types different elements predominate. In those classes with a general symmetrical framework, such as the altar and Madonna pieces, the elements of interest and direction of attention determine the balance, for they appear as variations in a symmetry which has already, so to speak, disposed of mass and line. They give what action there is, and where they are very strongly operative, they are opposed by salient lines and deep vistas, which act more strongly on the attention than does mass.

Interest keeps its predominance throughout the types, except in the portraits, where the head is usually in the central line.

But even among the portraits it has a respectable representation, as jewels, embroideries, beautiful hands, etc., count largely too in composition.

 

The direction of attention is most operative among the portraits.

Since these pictures represent no action, it must be given by those elements which move and distribute the attention; in accordance with which principle we find line also unusually influential. As remarked above, altar-pieces and Madonna pictures, also largely without action, depend largely for it on the direction of attention.

 

The vista, as said above, rivets and confines the attention. We can, therefore, understand how it is that in the genre pictures it appears very numerous. The active character of these pictures naturally requires to be modified, and the vista introduces a powerful balancing element, which is yet quiet; or, it might be said, inasmuch as energy is certainly expended in plunging down the third dimension, the vista introduces an element of action of counterbalancing character. In the landscape it introduces the principal element of variety. It is always to be found in those parts of the picture which are opposed to other powerful elements, and the “heavier” the other side, the deeper the vista.

Also in pictures with two groups it serves as a kind of fulcrum, or unifying element, inasmuch as it rivets the attention between the two detached sides.

 

The direction of suggestion by means of the indication of a line, quite naturally is more frequent in the Madonna picture and portrait classes. Both these types are of large simple outline, so that line would be expected to tell. In a decided majority of cases, combined with vista—the shape being more or less a diagonal slope—it is clear that it acts as a kind of bond between the two sides, carrying the attention without a break from one to the other.

 

The element of mass requires less comment. It appears in greatest number in those pictures which have little action, i.e. portraits and landscapes, and which are not yet symmetrical,—

in which last case mass is, of course, already balanced. In fact, it must of necessity exert a certain influence in every unsymmetrical picture, and so its percentage, even for genre pictures, is large.

 

Thus we may regard the elements as both attracting attention to a certain spot and dispersing it over a field. Those types which are of a static character (landscapes, altar-pieces) abound in elements which disperse the attention; those which are of a dynamic character (genre picture), in those which make it stable. The ideal composition seems to combine the dynamic and static elements,—to animate, in short, the whole field of view, but in a generally bilateral fashion. The elements, in substitutional symmetry, are then simply means of introducing variety and action. As a dance in which there are complicated steps gives the actor and beholder a varied and thus vivified “balance,” and is thus more beautiful than the simple walk, so a picture composed in substitutional symmetry is more rich in its suggestions of motor impulse, and thus more beautiful, than an example of geometrical symmetry.

III

The particular functions of the elements which are substituted for geometrical symmetry have been made clear; their presence lends variety and richness to the balance of motor impulses.

But this quality of repose, or unity, given by balance, is also enriched by a unity for intuition,—a large outline in which all the elements are held together. Now this way of holding together varies; and I believe that it bears a very close relation to the subject and purpose of the picture.

 

Examples of these types of composition may best be found by analyzing a few well-known pictures. We may begin with the class first studied, the Altar-piece, choosing a picture by Botticelli, in the Florence Academy. Under an arch is draped a canopy held up by angels; under this, again, sits the Madonna with the Child on her lap, on a throne, at the foot of which, on each side, stand three saints. The outline of the whole is markedly pyramidal; in fact, there are, broadly speaking, three pyramids, —of the arch, the canopy, and the grouping. A second, much less symmetrical example of this type, is given by another Botticelli in the Academy,—“Spring.” Here the central female figure, topped by the floating Cupid, is slightly raised above the others, which, however, bend slightly inward, so that a triangle, or pyramid with very obtuse angle at the apex, is suggested; and the whole, which at first glance seems a little scattered, is at once felt, when this is grasped, as closely bound together.

 

Closely allied to this is the type of the Holbein “Madonna of Burgomaster Meyer,” in the Grand Ducal Castle, Darmstadt. It is true that the same pyramid is given by the head of the Madonna against the shell-like background, and her spreading cloak which envelops the kneeling donors. But still more salient is the diamond form given by the descending rows of these worshiping figures, especially against the dark background of the Madonna’s dress. A second example, without the pyramid backing, is found in Rubens’s “Rape of the Daughters of Leucippus,” in the Alte Pinakothek at Munich. Here the diamond shape formed by the horses and struggling figures is most remarkable,—an effect of lightness which will be discussed later in interpreting the types.

 

A third type, the diagonal, is given in an “Evening Landscape”

by Cuyp, in the Buckingham Palace, London. High trees and cliffs, horsemen and others, occupy one side, and the mountains in the background, the ground and the clouds, all slope gradually down to the other side.

 

It is a natural transition from this type to the V-shape of the landscapes by Aart van der Neer, “Dutch Villages,” in the London National Gallery and in the Rudolphinum at Prague, respectively.

Here are trees and houses on each side, gradually sloping to the centre to show an open sky and deep vista. Other examples, of course, show the opening not exactly in the centre.

 

In the “Concert” by Giorgione, in the Pitti Gallery, Florence, is seen the less frequent type of the square. The three figures turned toward each other with heads on the same level make almost a square space-shape, although it might be said that the central player gives a pyramidal foundation. This last may also be said of Verrocchio’s “Tobias and the Archangels” in the Florence Academy, for the square, or other rectangle, is again lengthened by the pyramidal shape of the two central figures. The unrelieved square, it may here be interpolated, is not often found except in somewhat primitive examples. Still less often observed is the oval type of “Samson’s Wedding Feast,” Rembrandt, in the Royal Gallery, Dresden. Here one might, by pressing the interpretation, see an obtuse-angled double-pyramid with the figure of Delilah for an apex, but a few very irregular pictures seem to fall best under the given classification.

 

Last of all, it must be remarked that the great majority of pictures show a combination of two or even three types; but these are usually subordinated to one dominant type. Such, for instance, is the case with many portraits, which are markedly pyramidal, with the double-pyramid suggested by the position of the arms, and the inverted pyramid, or V, in the landscape background. The diagonal sometimes just passes over into the V-shape, or into the pyramid; or the square is combined with both.

 

What types are characteristic of the different kinds of pictures?

In order to answer this question we must ask first, What are the different kinds of pictures? One answer, at least, is at once suggested to the student on a comparison of the pictures with their groupings according to subjects. All those which represent the Madonna enthroned, with all variations, with or without saints, shepherds, or Holy Family, are very quiet in their action; that is, it is not really an action at all which they represent, but an attitude,—the attitude of contemplation. This is no less true of the pictures we may call “Adorations,” in which, indeed, the contemplative attitude is still more marked. On the other hand, such pictures as the “Descents,” the “Annunciations,”

and very many of the miscellaneous religious, allegorical, and genre pictures, portray a definite action or event. Now the pyramid type is characteristic of the “contemplative” pictures in a much higher degree. A class which might be supposed to suggest the same treatment in composition is that of the portraits, —absolute lack of action being the rule. And we find, indeed, that no single type is represented within it except the pyramid and double-pyramid, with eighty-six per cent. of the former.

Thus it is evident that for the type of picture which expresses the highest degree of quietude, contemplation, concentration, the pyramid is the characteristic type of composition. Among the so-called “active” pictures, the diagonal and V-shaped types are most numerous.

 

The landscape picture presents a somewhat different problem. It cannot be described as either “active” or “passive,” inasmuch as it does not express either an attitude or an event. There is no definite idea to be set forth, no point of concentration, as with the altar-pieces and the portraits, for instance; and yet a unity is demanded. An examination of the proportions of the types shows at once the characteristic type to be here also the diagonal and V-shaped.

 

It is now necessary to ask what must be the interpretation of the use of these types of composition. Must we consider the pyramid the expression of passivity, the diagonal or V-shape, of activity? But the greatly predominating use of the second for landscapes would remain unexplained, for at least nothing can be more reposeful than the latter. It may aid the solution of the problem to remember that the composition taken as a whole has to meet the demand for unity, at the same time that it allows free play to the natural expression of the subject. The altar-piece has to bring about a concentration of attention to express or induce a feeling of reverence. This is evidently accomplished by the suggestion of the converging lines to the fixation of the high point in the picture,—the small area occupied by the Madonna and Child,—and by the subordination of the free play of other elements. The contrast between the broad base and the apex gives a feeling of solidity, of repose; and it seems not unreasonable to suppose that the tendency to rest the eyes above the centre of the picture directly induces the associated mood of reverence or worship. Thus the pyramidal form serves two ends; primarily that of giving unity, and secondarily, by the peculiarity of its shape, that of inducing the feeling-tone appropriate to the subject of the picture.

 

Applying this principle to the so-called “active” pictures, we see that the natural movement of attention between the different “actors” in the picture must be allowed for, while yet unity is secured. And it is clear that the diagonal type is just