The Psychology of Beauty

by Ethel Puffer Howes

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.