Blake was also fond of this flame line, but usually used it in combination with more straight lines than the energetic Spaniard allowed himself. Plates III and V in the Job series are good examples of his use of this form. In both cases it will be seen that he uses it in combination with the steadying influence of straight lines, which help to keep the balance and repose necessary in the treatment of even the most violent subjects in art.
A continual interruption in the flow of lines, and a harsh jarring of one against another in an angular, jagged fashion, produces a feeling of terror and horror. A streak of fork lightning is a natural example of this. The plate of Blake's No. XI, p. 148 [Transcribers Note: [Plate XXXII]], reproduced here, is also a good example. I have had it put sideways on so that you may see that the look of horror is not only in the subject but belongs to the particular music of line in the picture. The effect of the harsh contrasts in the lines is further added to by the harsh contrasts of tone: everywhere hard lights are brought up against hard darks. Harsh contrasts of tone produce much the same look of terror as harsh contrasts of line. Battle pictures are usually, when good, full of these clashes of line and tone, and thrilling dramatic effects in which a touch of horror enters are usually founded on the same principle. In the picture by Paolo Uccello in the National Gallery, reproduced on page 170 [Transcribers Note: [Plate XXXIX]], a milder edition of this effect is seen. The artist has been more interested in the pageantry of war and a desire to show off his newly-acquired knowledge of perspective, than anything very terrible. The contrasts of line are here but confined to the smaller parts, and there are no contrasts of light and shade, chiaroscuro not being yet invented. However, it will be seen by the accompanying diagram how consistently the harsh contrasts of line were carried out in the planning of this picture. Notice the unconscious humour of the foreshortened spears and figure carefully arranged on the ground to vanish to the recently discovered vanishing point.
Diagram XVII.
SHOWING THE CLASH OF LINES IN SYMPATHY WITH THE MARTIAL NATURE OF THIS SUBJECT.
Plate XXXIX.
BATTLE OF ST. EGIDIO. PAOLO UCCELLO (NATIONAL GALLERY)