CONTENTS
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CLASSIFICATION AS THE BASIS OF METHOD IN SCIENCE AND ART
Spirit, Matter and their Combination as Sources of Phenomena in Religion Science, and Art---Limitations of the Present Book---
Why thought must be expressed in terms of matter---
How inaudible and invisible Mental Conceptions come to be represented in language, intonation, writing, carving, and building---
These pass into “the Arts” when they begin to be developed for the sake of the Form---
The Arts represent thought and feeling through elaborating natural forms appealing to the ear and the eye---Illustrations---
The Artist uses for this purpose the same forms that all men do, who before they can understand and use them effectively must, through comparison, “Classify and conquer” them---
This the basis of knowledge in all departments---
Science and philosophy classify effects conditioned upon laws operating underneath natural and mental phenomena: art classifies effects conditioned upon laws operating underneath aesthetic appearances or forms---
An embodied finite mind requires body and definiteness to appeal to its intelligence---
The artist groups phenomena mentally to gain a general conception, then, in a way analogous to classification, groups them materially to impart it---
Connection between these processes, and representing in art both the human mind and---
How the Artist, by classifying the Forms of Nature, represents his own mind---
And how, the forms of nature.
[page vii]
Mental and Material Considerations Connected with Each of the Methods---
Yet divisible in a General way into those Manifesting Effects of Mind, of Nature, and of both Combined---
How Mental Considerations lead to Unity---
This attained by putting the like with the like by Way of comparison---
Exemplified in the Art-forms: in Poetry---
in Music---
in Paintings---
in statues---
in buildings of all styles---
in Natural Forms---
This Method Necessary to imaginative or any aesthetic expression---
How the consideration of Natural Forms leads to variety---
This involves putting the like with the unlike by way of contrast; its effects illustrated in classification---
Variety in Poetry---
In Music---
In Painting, Sculpture, and Architecture---
Direct Antithesis as related to comparison---
Its Effects in Literature---
in Poetry---
In Music---
in Outline---
in Color---
How considerations of mind and nature, or unity and variety, lead to complexity---
How comparison and Contrast Leads to Complement.
III.
ORDER, CONFUSION, COUNTERACTION, PRINCIPALITY, SUBORDINATION, AND BALANCE IN CLASSIFICATION AND COMPOSITION
Pages 34---51
Follows Variety and Complexity, Owing to a Reassertion of the Mind’s requirements---
Confusion in Poetry, in Music, in the Arts of Sight---
Counteraction---
Its influence in classification---
In Art---
In Poetry---
In Music---
In the arts of sight---
Principality---
Connection between the Mental conception and the object Forming the Nucleus of the Class---
Balance---
Its relations to complement, counteraction, and symmetry---
To twin Products in Nature.
IV.
PRINCIPALITY, SUBORDINATION, AND COMPLEMENT OR BALANCE IN POETRY AND MUSIC
Pages 52---68
Principality of Theme in an epic---
In a
<viii>
…drama---
Of Form in the blank Verse of Long Poems---
Of Short Poems, as in the chorus---
In the French Forms, Rondel. Triolet, Kyrielle---
In the General movement as representing the general thought---
Illustrations---
Principality as Illustrated by Musical variations
And in other Longer and Shorter Compositions---
Subordination or complement or balance in poetic themes---
In Poetic form---
In pairs of lines in verse---
Correspondence between poetry and music in this regard---
Balance in Poetic Feet and pairs of words---
The same method in musical themes and phrases---
Illustrations of its applications; of its non-application---
Complement between the different phases and chords and Measures.
V.
PRINCIPALITY, SUBORDINATION, AND
COMPLEMENT OR BALANCE IN PAINTING, SCULPTURE, AND ARCHITECTURE
Pages 69-96
Principality by size, position, direction of lines, color, and shading---
Illustrations---
In Sculpture---
In Architecture, through a Porch, door, window, dome, Spire, etc.---
Vertical and horizontal balance---
Complement between principal and subordinate features---
Between the subordinate, with the principal separating them---
Groupings of odd and of even numbers---
Complement and balance in painting---
In Sculpture---
in Architecture---
Approaching symmetry in large public buildings which demand Effects of dignity---
Principality and complement in modern public buildings---
Criticisms---Suggestions---
Even and odd numbers in the horizontal and vertical arrangements of architecture.
VI.
GROUPING AND ORGANIC FORM IN POETRY AND MUSIC
Pages 97---113
The method, conditioned by this principle, organizes the group---
Organism in nature and in classification---
In Art-Composition---
Organism in the Art-Product: the Feet, Trunk, and head of Plato; the beginning, middle and end of Aristotle---
Applied to poetic form---
to the sentence---
To the poem---
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Effects of Form due to the Organic Order in which the Beginning. Middle, and End of movement are presented: Stedman---
Where thought is didactic: Longfellow---
Pope---
In a simile: Howitt---
Waller---
Hugo---
Same Effects as produced by Form irrespective of the thought---
Waddington---
Miller---
Gosse---
Scollard---
A like principle illustrated in plots of long poems---
In music---
A periodic form---
Explanations of the effect in short and long compositions---
In reiterated chords at their beginning and close---
Same Principle in Oratory.
VII .
GROUPING AND ORGANIC FORM IN PAINTING, SCULPTURE, AND ARCHITECTURE
Pages 114---124
Necessity for considering them---
Different kinds of contour---
Arches---
Semicircles---
Pyramids---
Circles---
Ovals---
Wedge-Shapes---
Same Effects Produced by Light and Shade and Color, Differing on differing Sides, Above and below, at the Centre and at the Circumference---
Same Effects in Sculpture---
The Pedestal or foot, the canopy or head, on out-door statuary---
Architecture---
the Foot in the Foundation---
the trunk in the wall---
the head in the Roof---
Architectural grouping as a whole.
VIII.
OTHER METHODS OF CLASSIFICATION AND COMPOSITION, AS DEDUCED FROM THOSE ALREADY CONSIDERED
Pages 125---132
And upon those of matter---
Other methods conditioned by the product are now to be considered---
The product a combination of effects---
Produced mainly upon the mind; or upon the senses; or partly upon the mind and partly upon the senses---
Leading, respectively, to likeness by way of congruity---
Of repetition---
And of consonance---
Illustrations of the three---
All the methods of composition result from combining these three with the seven general methods mentioned above---
Chart of the art-methods---
Additional statements---
Correspondence between these methods and their arrangements and those given by others.
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IX.
CONGRUITY, INCONGRUITY, AND COMPREHENSIVENESS
Pages 133---149
Who in each art must start with a mental conception, and the condition of mind underlying comparison based upon congruity---
General effect of this---
Incongruity in nature and art---
Comprehensiveness---
Congruity in poetry---
At the basis of the law of the unities---
Why the latter is not applicable to the drama---
Congruity, incongruity, and comprehensiveness in “Hamlet” ---
In “Lear”---
In “Patience” ---
The same in the development of musical themes---
As in the overture and opera of “Tannhauser” ---
Congruity uniting by association different appearances in the arts of sight---
Mainly this that keeps artists from using together forms of gothic and Greek architecture---
Incongruity and comprehensiveness in the arts of sight---
Raphael’s “Transfiguration” ---
Same methods in architecture.
X.
CENTRAL-POINT, SETTING, PARALLELISM, AND SYMMETRY
Pages 150---161
Connection between this fact and the methods now to be considered---
Difficulty of determining the term central point, and objections to other terms---
Appropriateness of this---
Same difficulties and objections to terms for the second method---
Appropriateness of the term setting---
Connections between central-point and principality, and setting and subordination---
Parallelism---
Symmetry and its connection with the methods preceding it---
recapitulation---
how nature suggests these methods: the vanishing point and radiation or central-point---
laws of linear perspective---
radiation allied to principality and unity---
setting in nature---
parallelism in lines of horizon, rivers, hills, trees, etc. ---
manifestation in individual forms of nature, of central-point, setting, parallelism and symmetry.
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XI.
ILLUSTRATIONS OF CENTRAL-POINT,
SETTING, PARALLELISM, AND SYMMETRY
Pages 162---187
Poetic central-point in the climax---
Setting in the digression---
Illustrations---
Parallelism in metaphors and similes---
In what is termed parallelism---
And in lines of verse---
Poetic symmetry, with illustrations---
All three methods in poetic form---
How manifested---
Central-point and setting in music---
Parallelism and musical harmony: illustrations---
Symmetry---
Connection between lines radiating from a central point and appearance of unity and principality in visible objects---
Illustrations from Paintings---
Curved lines of radiation---
Lines of direction in architecture---
The Nature of Setting in the Arts that are seen---
Parallelism and its Connection with Order---
Illustrations from Painting and Sculpture---
How it gives unity to forms associated by way of congruity---
Symmetry: Its Present different from its Former Meaning---
Symmetrical Paintings---
Symmetry, an application of the principle of Complement all the Features of the Two Sides of a Composition---
Connection between Symmetry and Organic Form---
Some Variety not inconsistent with symmetry.
XII.
REPETITION, ALTERATION, AND ALTERNATION
Pages 188---208
Repetition, a necessary and elementary factor in all forms---
Alteration---
How differing from variety---
Alternation and other allied methods---
The influence of repetition, alteration, and alternation upon thought---
How they are exemplified in nature---
In art; poetic repetition with alteration in lines, feet, alliteration, assonance, rhymes---
In recurring refrains, choruses: explanation of the French forms of verse---
In epithets and phrases---
Alternation in accent and lack of accent and in rhyming lines---
The three methods in music---
The three in primitive forms of ornamentation appealing to sight---
In painting: how imitated from nature and how produced by artistic arrangements of forms---
Even of landscapes---
The same in color---
In sculpture---
In architecture---
The fundamental reason why styles should not be mixed---
Necessity of unity of effect.
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XIII.
MASSING OR BREADTH
Pages 209---219
Massing---
Its object is to produce cumulative or general effects---
In poetry, by an accumulation of the effects of sense and sound---
Of sound alone---
Connection between massing and central-point as illustrated in the climax---
Massing in music---
In painting: the meaning of breadth in this art as restricted to effects of light and shade---
Means used by the artist in producing these---
Not necessarily one mass of light in one composition: three masses---
Breadth and massing analogous---
The same principles applied to colors and outlines---
Massing in sculpture---
In architecture: by outlines and by light and shade.
XIV.
INTERSPERSION, COMPLICATION, AND CONTINUITY
Pages 220-242
Complication in nature and art---
Its relation to order---
Continuity---
Should not disregard the requirements of variety---
Illustrations---
Interspersion and complication in poetry---
In the sense---
Interspersion in the form---
Variety without interspersion---
Complication in the form---
Continuity and drift---
Interspersion, complication, and continuity in music---
The two former in painting, sculpture, and architecture---
Continuity in these latter arts---
Present in connection with interspersion and complication.
XV.
CONSONANCE, DISSONANCE, AND INTERCHANG E
Pages 243---265
Also to the repetitious---
How the same meaning attaches to the word as used in other arts---
Three ways in which features seemingly alike may differ in size, in combination, in material---
Consonance and the law of help---
Dissonance---
Why involved in passing from one key to another---
Why it has artistic value---
Interchange---
Why Necessary To Harmony in Music---
In Color and Outline---
Poetic Consonance---
Dissonance---
Harmonizing of the two---
Musical consonance---
Dissonance---
Consonance in color in connection with difference in texture---
Value---
Tone---
Consonance not harmony---
Nor is dissonance contrast---
The same
<xiii>
In painting and architecture---
Neglect of them in architecture---
Illustrations---
Results---
Importance of harmony thus produced---
Which is not inconsistent with some dissonance.
XVI.
GRADATION, ABRUPTNESS, TRANSITION, AND PROGRESS IN POETRY AND MUSIC
Pages 266---277
Abruptness, transition, and progress---
Connection between these methods and those already considered---
Gradation in the sounds and colors of nature---
In its outlines---
Abruptness in nature---
And transition---
Difference between continuity and progress---
Gradation in the thought and form of poetry---
Abruptness---
Transition---
Gradation in music---
Abruptness---
Transition---
Continuity in poetry without progress---
With progress---
Continuity and progress in music.
XVII.
GRADATION, ABRUPTNESS, TRANSITION, AND PROGRESS IN PAINTING, SCULPTURE, AND ARCHITECTURE
Pages 278---300
In color---
Abruptness---
Transition---
Connection between these methods and curved, angular, and mixed effects of lines---
Reasons for the extensive presence of curves in nature and art---
Why the curve is the line of beauty---
The most common curve of nature is a literal fulfillment of the method of gradation---
As well as all the methods of artistic composition---
Curvature as applied to the general contour of groups in painting and sculpture, especially to the limbs of the human form---
In architecture---
Why curves are less used in this art---
Gradation in combinations of lines or contours---
Abruptness in the same---
Gradation in the outlines of architecture: spires, towers, foundations---
Over openings---
In Italian towers---
Lines of lower and upper window-caps, gables, and roofs; rounded arches below and pointed above---
The more pointed arches below---
Abruptness less appropriate in architecture than in painting and sculpture---
Progress in painting and sculpture: false methods of obtaining the effect---
Right methods---
In architecture---
Conclusion.
INDEX
Pages 301---311