THE FINDING OF THE BODY OF ST. MARK TINTORETTO (BREDA, MILAN)
Compare with Raphael's Ansidei Madonna, and note how energy and movement take the place of static calm in the balance of this composition.
Photo Anderson
A pleasing proportion that often occurs in nature and art is one that may be roughly stated in figures as that between 5 and 8. In such a proportion the eye sees no mathematical relationship. Were it less than 5, it would be too near the proportion of 4 to 8 (or one-third the total length), a dull proportion; or were it more, it would be approaching too near equality of proportion to be quite satisfactory.
I have seen a proportional compass, imported from Germany, giving a relationship similar to this and said to contain the secret of good proportion. There is certainly something remarkable about it, and in the Appendix, page [289], you will find some further interesting facts about this.
The variety of proportions in a building, a picture, or a piece of sculpture should always be under the control of a few simple, dominant quantities that simplify the appearance and give it a unity which is readily grasped except where violence and lack of repose are wanted. The simpler the proportion is, the more sublime will be the impression, and the more complicated, the livelier and more vivacious the effect. From a few well-chosen large proportions the eye may be led on to enjoy the smaller varieties. But in good proportion the lesser parts are not allowed to obtrude, but are kept in subordination to the main dispositions on which the unity of the effect depends.