The figures are arranged, that is to say, not as you would be likely to see them in actual life, but according to a rule or formula or convention. The idea has been not to represent a real scene, but to display the figures and their surroundings in such a way as to produce an effect of beauty; sometimes a simple one, more often one of great impressiveness or magnificent splendor. The figures and other objects have been so arranged and so drawn as to furnish an orderly pattern of beauty and dignity. The subjects of the pictures might be taken from the Bible story or from the legends of ancient Greece, or be simply invented to set forth the pride that the people took in their cities—the pomp and glory of Venice, for example. But, no matter what the subject might be, the aim of the artist was first and foremost to paint a thing of beauty. And in this search for beauty he soon discovered how much depended upon the surroundings of his figures and the objects that he introduced.
When he desired the simpler kind of beauty he set his figures in lovely landscape scenery with hills and trees and winding streams; when he was bent on grander effects, he added architectural settings. For the architects of that day were erecting noble buildings with columns and arches, vaulted roofs and domes; partly in imitation of the remains of Roman architecture, but also designed in a fresh spirit of invention to fit the new purposes for which the buildings were required. Thus arose that vast temple of the Roman Church, St. Peter’s. It is what is called a classic building; because its style is in many respects like that of the old classic Roman temples, which in their turn had represented a new use of the still older classic style of Greek architecture.
The painters, then, inspired by the work of the architects, discovered how much dignity they could give to their own compositions by introducing architectural features. Sometimes they would introduce columns, or a flight of steps or a balustrade, sometimes a whole building; or represent the figures grouped in a street or square, surrounded by buildings, or often inside a building, standing under a vaulted ceiling. These are only a few of the architectural features, so freely used by the Italian painters. Let us study their value to the composition.
Some people who live in country homes are fond of flowers. They grow cluster-roses, honeysuckle, wistaria and other long-armed climbing plants over their verandahs. If they are fond of gardening and not satisfied merely with a lawn and a few shrubs, they will erect arches and trellis-work on which vines may cling and cluster. In the first place, they know that these slender, straggling plants will thrive better, if they have some support; they will not be so torn by the buffets of the wind, and their limbs and leaves and flowers will get more sunshine. Secondly, they will show to better advantage, because of the contrast of their winding, wreathing forms and irregular masses with the firm, strong, simple lines of the verandah or trellis-work. United they form a prettier composition, than would the vines and cluster-roses, if huddling in an unsupported tangle.
The principle is the same in the composition of a picture, where the vines are represented by the action of the figures. To their irregular masses of drapery and undulating lines of limbs the architecture presents at once the contrast and support of decided lines and clearly defined masses. And since the classic style of architecture, which was used, is so noble, it added nobility to the composition. Even the penny photographs of the Italian pictures will prove to you that this is so. Study them and find this out for yourselves.
Now, the example of the Italians, in this respect, was followed by other nations, especially the French. The latter continue to this day the painting of beautiful pictures in which the figures are combined with landscape and architecture. And our own American artists are doing the same thing, as you can see if you have a chance of visiting the Library of Congress, at Washington, or any other of the public buildings throughout this country, in which the walls have been decorated with mural paintings.[3]
So far we have been speaking of the use of architecture to support the figures. In time, however, artists found a new use for it. They employed it to support the landscape; which brings us to a talk about what is called the “Classic Landscape.”
Nowadays, when so many artists paint nothing else but landscape pictures, it may seem strange that the Italians of the Fifteenth and Sixteenth Centuries used landscape only as a support for the figures. It was not because they were blind to the beautiful scenery of their own country, for, when they did introduce it into their pictures, they represented it in a very lovely way. But always as a background to the figures, which you are made to feel are the principal features of the picture. The reason is that the public for whom they painted demanded figure subjects. The Church required pictures that would bring home to the hearts of the people who could not read the beauty of the Bible
