In [“The Path of the Surf,”] the main form—the surf—is a triangle and the two supporting spaces triangles. Such a construction is particularly stable, as these focalize on the line of interest. Some artists construct most of their pictures in a series of related triangles. The [pg 109] writer calling upon Henry Bacon found him painting a group of transatlantic travellers on a steamer's deck. He pointed out a scheme of triangles which together formed one great triangle, but said he was looking for the last point for the base of this. A monthly magazine was suggested, which, laid open on its face, proved le dernier clou.
THE VERTICAL LINE IN ANGULAR COMPOSITION
When Giotto was asked for his conception of a perfect building, he produced a circle. When Michael Angelo was appealed to, he designated the cross. On both bases may good architecture and good pictures be founded. If the extremities of the Greek cross be connected by arcs, a circle will result, and if the Latin cross be so bounded we will have a kite-shape, or ellipse. The two designs are, therefore, not as dissimilar as may at first be supposed. In both, from the pictorial standpoint, they are the framework by means of which the same given space may be filled.
The simple vertical line is monotonous. Its bisection produces balance; a cross is the result. Again, two crosses placed together, the arms touching, and three crosses in like position, will represent the picture plan of the grouping so frequently used by Raphael—a central figure balanced by one on either side, the horizon joining them, and behind this the balance repeated in trees and other figures.
Pictorially, the vertical line is much more important than any other. It is the direction of gravity; it represents man upright, in distinction from the brutes; it also can stand alone, all other lines demanding supports. Of two equally forcible lines, this would first be seen. In composition, therefore, it has the right of way.
Let us start with a subject represented by a vertical line—a tree or figure. The directness, rigidity, isolation and unqualified force of such a line demands balance; otherwise, extension is the sole idea. With the thought of a frame or sides of the picture comes the necessary horizontal line, bisecting the vertical. Length and breadth have then been represented, something in two dimensions started, and the four sides of a frame necessitated.
In sculpture this consideration weighs nothing. A statue is framed by all outdoors. The vertical of a single figure pierces the unlimited sky, and the only consideration to the artist is that the mass looks well from any point of view. The group by Carpeaux is a sample of plastic art unusually picturesque, and would easily fit a frame, because in it the vertical figure is supported by horizontals, both of lines and in the idea of lateral movement. It is, therefore, solid and complete and sets forth in its structure the thought of Alexander the Great when he had his artists represent, in a design painted upon his equipments, lasting power as a sword within a circuit.
This piece of sculpture is a cross within a [pg 113] cylinder, but on a flat plane the principle is just as forcible, as will further be shown in the picture by Israels.
