F. P. B. OSMASTON, B.A.
AUTHOR OF "THE ART AND GENIUS OF TINTORET," "AN ESSAY
ON THE FUTURE OF POETRY," AND OTHER WORKS
VOL III
LONDON
G. BELL AND SONS, LTD.
1920
CONTENTS OF VOL. III
THIRD PART
THE SYSTEM OF THE PARTICULAR ARTS
INTRODUCTION
[Summary. Nature of the relation between the system of Art-types, or the collective totality of ideal world-presentments, and their objective realization in independent works of art. Nature of the process in the evolution of the specific arts themselves, and of the aspects identical in all. The origins of art. Grace, Charm, and severe or agreeable Style] [3]
DIVISION OF THE SUBJECT
[The principle of differentiation as determined by the sensuous aspect of the subject-matter, and the relation thereto of the human senses of Sight, Hearing, and intellectual Conception. Insufficiency of such a principle of classification. Alternative principle discussed and illustrated of more concrete nature, in which the evolution of truth as the reality of the Idea itself is presented] [14]
SUBSECTION I
ARCHITECTURE
INTRODUCTION
[Of the beginnings of human art, and that of building in particular. Of the nature of the subordinate classification of architecture viewed as symbolic, classical and romantic] [25]
Division of Subject [26]
[CHAPTER I]
INDEPENDENT AND SYMBOLIC ARCHITECTURE
Introduction and Subdivision [32]
1. Works of architecture erected in order to unite peoples [36]
2. Works of architecture intermediate between the arts of building and sculpture [38]
(a) The influence of the generative activity of Nature on the form of buildings [39]
(b) Further modification of similar conceptions in the obelisks of Egypt and other examples [40]
(c) Temple enclosures, labyrinths, etc. [42]
3. The transition from self-substantive architecture to the classical type [48]
(a) The nature of subterranean dwellings [48]
(b) Construction raised to house the dead in Egypt and elsewhere. The Pyramids [50]
(c) Buildings that directly subserve a purpose as the point of transition to the classical type. The ordinary dwelling. The environment of the sculptured image. The adoption of the principle of expediency. The abstraction of parts of a building from the organic form, e.g., in the column [55]
CHAPTER II
CLASSICAL ARCHITECTURE
Introduction and Subdivision [62]
1. The general character of classical architecture [63]
(a) Serviceableness to a definite end [63]
(b) The nature of the fitness or power of adaptation of such a structure to such an end [64]
(c) The relatively greater artistic freedom of such architecture. Architecture as frozen music. The dwelling-house [64]
2. The fundamental determinants of architectural forms in their separation [66]
(a) Buildings of wood and stone. The question of their historical priority [66]
(b) The specific forms of the parts of a temple-dwelling. [68]
[(α) Features of support. The column [69]
(β) The thing supported. The entablature, in its architecture, cornice, etc. [72]
(γ) That which encloses. The walls and partitions] [74]
(c) The classical temple in its entirety [77]
[(α) The horizontal rather than soaring-up character [78]
(β) The simplicity and proportion [78]
(γ) The nature of its elaboration] [79]
3. The different constructive types of classical architecture
(a) The Doric, Ionian, and Corinthian types, compared
and contrasted [80]
(b) The Roman type of building. The vault [86]
(c) General character of Roman architecture [88]
CHAPTER III
ROMAN ARCHITECTURE
1. General Architecture [89]
2. Particular architectural modes of configuration [91]
(a) As the basic form we have the wholly shut away dwelling-house [91]
[(α) Relation of this form to the ideal character of the Christian religion [91]
(β) Exclusion of light and access to mundane life
(γ) The aspect of soaring in tower and pinnacle] [92]
(b) The form of the exterior and interior [92]
[(α) The figure of the square and rectangular roofing not appropriate. Parallel between the vaulting of a Gothic church and a roofing of forest trees. Distinction between piers and columns. The pointed arch. Distinction between choir, transept, nave, and aisles. The baptismal font and entrance [93]
(β) In contrast to the Greek temple decoration and and general co-ordination of parts determined from within outwards. The form of Cross. The doors. Flying buttresses, pinnacles, and towers] [100]
(c) The mode of decoration [102]
[(α) Importance of ornament to Gothic architecture [102]
(β) Lightness and delicacy a prevailing feature, especially on the outside [103]
(γ) Display of romantic imagination therein] [104]
3. Different types of building in romantic architecture [104]
(a) The pre-Gothic architecture distinct from it. The basilica [105]
(b) Genuine Gothic architecture of the thirteenth century [105]
(c) Secular architecture of the Middle Ages. The art of garden-making [106]
SUBSECTION II
SCULPTURE
INTRODUCTION
[Sculpture makes a direct use of the human form instead of accepting a symbolical mode of expression merely suggestive of spiritual import. Does not primarily express emotion or spiritual life in action or the focus of soul-life. Absence of colour] [109]
Division of subject [118]
CHAPTER I
THE PRINCIPLE OF GENUINE SCULPTURE
1. The essential content of sculpture [121]
[(a) The twofold aspect of subjectivity. The province of subjective life as such to be excluded from sculpture. The Divine presented in its infinite repose and sublimity [122]
(b) Presents a spiritual content only as explicit in bodily shape] [125]
2. The beautiful form of sculpture [126]
(a) The exclusion of the particularity of the appearance. How far relative [130]
(b) The exclusion of incidental facial expression [130]
(c) Substantive individuality [131]
3. Sculpture as the art of the classical Ideal [132]
CHAPTER II
THE IDEAL OF SCULPTURE
Introduction and division of subject [135]
1. The general character of the ideal form of sculpture [137]
(a) The free product of the genius of the artist. General content borrowed from mythology, etc. [139]
(b) The animation which results from the plastic perfection of the integrated coalescence of the whole throughout its definition and relief [140]
(c) No mere imitation of Nature. The external shape must be suffused with ideal content] [141]
2. The particular aspects of the ideal form of sculpture as such [142]
(a) The Greek profile. Contrast of the human mouth with that of animals. The projection of the forehead. Position of nose. Consideration of the human eye and ear. Beauty of the human mouth. Treatment of the chin in sculpture, also the hair [143]
(b) Position of other parts of the human body and the motion thereof [147]
[(α) The nature of the relation under which the limbs are associated in their contribution to spiritual ideality. The upright position [156]
(β) The motion and repose of the same in their freedom and beauty [159]
(γ) The type of position and motion adapted to a situation (habitus) or bodily habit under which the Ideal is expressed] [160]
(c) Drapery [160]
[(α) Ethical origin and artistic justification of, in sculpture [161]
(β) Treatment of it by Greek sculpture [162]
(γ) Artistic principle as determining the right emphasis on ideal significance. Contrast between antique and modern sculpture in the use of it] [165]
3. The individuality of the ideal figures of Sculpture [171]
(a) Incidental attributes and style of drapery, armour, etc., treated by sculpture. Distinguishing symbolic accessories of Greek gods [173]
(b) Distinctions of age and sex in gods, heroes, human figures, and animals [177]
(c) Representation of particular gods [183]
CHAPTER III
THE VARIOUS KINDS OF REPRESENTATION, MATERIAL, AND THE HISTORICAL STAGES OF THE EVOLUTION OF SCULPTURE
Introduction and division of subject [187]
1. Modes of Representation [187]
(a) The single statue [188]
(b) The group. Tranquil juxtaposition. Conflicting actions. Niobe. Lacoon [190]
(c) The relief [193]
2. The material of sculpture [194]
(a) Wood [195]
(b) Ivory, gold, bronze, and marble [195]
(c) Precious stones and glass [200]
3. The historical evolution of sculpture [201]
(a) Egyptian sculpture. Deficiency of ideal spontaneity. Position of hands and arms. Position of eyes [202]
(b) Sculpture of the Greeks and Romans [205]
(c) Christian sculpture [213]
SUBSECTION III
THE ROMANTIC ARTS
INTRODUCTION
[The principle of subjectivity as such. How it is accepted as the essential principle by romantic art. The contrast presented by romantic and classical art in the changed point of view. The effect of such a change on both the subjective side of soul-life and the external aspect of objective presentment. The process of the gradual idealization of the external medium of art itself as illustrated by the particular romantic arts and the necessity thereof] [217]
CHAPTER I
THE ART OF PAINTING
Introduction and division of subject [223]
I. General character of Painting [225]
(a) Fundamental definition of the art. Combines the subject-matter of architecture and sculpture. More popular than sculpture [230]
[(α) Individuality must not be suffered to pass wholly into the universality of its substance. Introduction of accidental features as in Nature [230]
(β) Greatly extended field of subject-matter. The entire world of the religious idea, history, Nature, all that concerns humanity included [231]
(γ) A revelation further of the objective existence of soul-life. Vitality of artist imported into his presentation of natural objects] [231]
(b) The sensuous medium of Painting [232]
[(α) Compresses the three dimensions of Space into two. Its greater abstraction, as compared with sculpture, implies an advance ideally. Its object is semblance merely, its interest that of contemplation. The nature of its locale [233]
(β) Its higher power of differentiation. Light its medium. This implies, even in Nature, a movement towards ideality. The appearance of light and shadow in painting intentional. Form is the creation of light and shadow simply. This fact supplies rationale of the removal of one dimension from spatial condition [236]
(γ) This medium enables the art to elaborate the entire extent of the phenomenal world] [240]
(c) The principle of the artistic mode of treatment [241]
[Two opposed directions in painting, one the expression of spiritual significance by interfusion with or abstraction from objective phenomena, the other the reproduction of every kind of detail as not alien to its fundamental principle. Illustrations of the two methods and their relative opposition, or reconciliation]
2. Particular modes in the definition of Painting [244]
(a) The romantic content [245]
[(α) The Ideal which consists in the reconciliation of the soul with God as revealed in His human passage through suffering. The religious content. The Love of religion [247]
(αα) The representation of God the Father. Generally beyond the scope of painting. The famous picture of Van Eyck at Ghent [251]
(ββ) Christ the more essential object. Modes of depicting him in his absolute Godhead or his humanity. Scenes of Childhood and Passion most fitted to express religious aspect. Love of the Virgin Mary. Contrast with Niobe [253]
(γγ) The ideas of devotion, repentance, and conversion as such affect humanity in general when included in the religious sphere. The pictorial treatment of martyrdom [260]
(β) The pictorial treatment of landscape [266]
(γγ) The pictorial treatment of objects in natural or secular associations. The vitality and delight of independent human existence. Art secures the stability of evanescent phenomena. The influence of artistic personality on the interest] [268]
(b) The more detailed definition of the material of pictorial representation [273]
[(α) Linear perspective [274]
(β) Accuracy of drawing of form. The plastic aspect of a pictorial work [274]
(γ) The significance of colour. Modelling. Of gradations of colour and its symbolism. Of various schemes of colour. Colour harmony. The painting of the human flesh. The mystery of colour The creative impulse of the artist] [275]
(c) Artistic conception, composition, and characterization [290]
[Painting can only embody one moment of time. Concentration of interest. The law of intelligibility. Religious subjects, their advantage in this respect. Historical scenes as appropriate to particular buildings. Unity of entire effect. Raphael's Transfiguration. Of the treatment of landscape as subordinate. The grouping of figures. The form of the pyramid. Comparison of the characteristic in painting and sculpture. The treatment of love's expression in religious subjects. The gradual elaboration of the portrait. The situation which is itself a critical moment in characterization] [291]
3. The historical development of Painting [313]
(a) Byzantine painting [315]
(b) Italian painting. General review of its spirit in religious and romantic subject-matter [317]
[(α) Characteristic features of early type: austerity, solemnity, and religious elevation [321]
(β) The free acceptance of all that is human and individual. The influence of Giotto. Later schools mark a still further advance in naturalism. Masaccio and Fra Angelico. The pictorial representation of secular subjects [322]
(γ) Further advance in power of emotional expression. Leonardo da Vinci, Perugino, Raphael, and Correggio.] [327]
(c) The Flemish, Dutch, and German schools [330]
[(α) The brothers Van Eyck. Innocence, naïveté, and piety of early Flemish School. Contrast with Italian masters [330]
(β) The emphasis by North German painting on ugliness and brutality [332]
(γ) Dutch painting. Historical conditions of its appearance. General characteristics of Dutch art] [333]
CHAPTER II
MUSIC
INTRODUCTION
[Summary. The principle of subjectivity, as realized in painting, contrasted with its complete emancipation in the art of music. Annihilation of spatial objectivity. Motion with its resultant effect in musical tone. Analysis of the twofold negation of externality in which the fundamental principle of musical tone consists. The inner soul-life exclusively the subject-matter of music. Addressed also in its effect to such] [338]
Division of subject [344]
1. The General Character of Music [345]
(a) Comparison of music with the plastic arts and poetry
[(α) Both affiliated to and strongly contrasted with architecture. It resembles architecture in the nature of the configuration of its content as based on rigorously rational principles directed by human invention. It supplies the architectonic of the extreme of ideality as architecture supplies that of the external material of sense. The quantitative or measure relation is the basis of both [345]
(β) Music further removed from sculpture than painting. This is not merely due to the greater ideality of latter, but also to its treatment of its medium. The unity realized by a musical composition of a different kind to that realized by the plastic arts. In the former case subject to the condition of a time-series [347]
(γ) Most nearly related to poetry. Employ the same medium of tone. Poetry possible without speech-utterance. Ideal objectivity of poetry as contrasted with the independence of musical tone as the sensuous medium of music. Music as an accompaniment of the voice] [352]
(b) Musical grasp and expression of Content [357]
[(α) Primarily must not minister to sense-perception. Must make soul-life intelligible to soul. This abstract inwardness differentiated in human feeling, of every description [358]
(β) Natural interjections not music. They are the point of departure. To music belongs intelligible structure, a totality of differences capable of union and disunion in concords, discords, oppositions and transitions. The nature of its relation to positive ideas] [359]
(c) Effect of music [361]
[(α) The evanescent character of the objectivity of music. It seizes on conscious life where it is not confronted with an object. Its effect due to an elementary force. Appeal to man as a particular person. The soul made aware of its association with Time. Analysis of the notion of Time [361]
(β) Must also possess a content. Orpheus. Incentive to martial ardour and enthusiasm [365]
(γ) Necessity of repeated reproduction. Personal relation of the executive artist to the same. Excess of this influence] [367]
2. The particular definition of the means of expression in music [368]
(a) Time-measure, beat, and rhythm [371]
[The relation of Time to the fundamental principle of subjective life. Time-measure prevents the series being indefinite and devoid of content, and further regulates by intelligible division the nature of its advance. Time-beat possesses the same function as the principle of symmetry in architecture. Coordinates a fortuitous variety. Distinct kinds of time-measure. Rhythm gives vital significance to the time-measure and beat. The accent. The rhythm of melody. The analogous example of verse. Handelian music]
(b) Harmony [379]
[(α) Difference of sound through different instruments of music. Artificially made. Instruments which possess an oscillating column of air, or a stretched string of gut or metal which vibrates. The kettledrum and harmonica. The human voice. Can be employed in separation or combination [381]
(β)Tone in its own essential definition. The constitution of harmony as such. The theory of intervals. The scales and keys. Numerical relations of tones and their pitch. Accordant and discordant tones. The octave and other intervals [385]
(γ) The system of chords. The triad. Dissonant chords of the seventh and ninth. The resolution of a dissonance. Transitions and modulations of harmony] [389]
(c) Melody [393]
[(α) The more poetic aspect of music. Inseparable from the theoretical means which creates it. No real surrender involved in its subjection to rules of harmony [395]
(β) Simple melodies. Folk-songs. Part chorales where each note of melody represented by a chord. Musical composition as an illustration of the conflict between the principles of freedom and necessity [395]
(γ) General character of genuine melody. As such reflects free self-consciousness of soul-life] [398]
3. The relation between means of expression in music and its content [398]
(a) Music as an accompaniment [403]
[(α) The melodic expression of such music. Ought not to fall into excess of tumult. Palestrina, Durante, Haydn, Mozart, etc. Beauty of Italian music [404]
(β) The differentiation of the mode of musical expression must correspond with the nature of a specific content and its situation. Such a content supplied by the libretto. Distinction from this of a song. The recitative. Defective unity [408]
(γ) The nature of the condition of concrete unity in the libretto and declamatory recitative. A good libretto not wholly unimportant. Must be stamped with self-consistency. The libretto of Mozart's "Magic Flute." Comparison of the sustaining soul of music with the fundamental beauty of Raphael's paintings. Different forms of music as accompaniment. Church, lyrical, and dramatic music] [412]
(b) Independent music [421]
(c) The artist as Executant [426]
[(α) The ordinary executant who simply executes what lies before him. Comparison with the rhapsodist or reciter of Epos. Player must lose himself in music and reproduce composer [426]
(β) The virtuoso, who himself creates and makes the music a means of personal display. Must not merely show eccentricity, but reveal the life of music and the force of a personality] [427]