DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68796#0015
PART II
Contents
xi
—59. Festal aspect of the artist’s general surroundings at Flor-
ence—60. A fourteenth - century description of the Florentine
Festival of San Giovanni—61. The artistic outcome of the brilliant
festal life of mediaeval Italy—62. The difference between the
artistic expression of the Greeks and Italians—63. The large
scenic picture ; how it was conceived and wrought—64. The
Frescoist of the fifteenth century ; his character, surroundings and
work—65. Interior of a Florentine workshop—66. How the votive
chapel was painted—67. A Cycle of Fresco-paintings—68. Con-
sultation over Cartoons—69. A visit from the dlite of the city-
70. The technical processes of Fresco—71. The Master at work-
72. A critical glance at his achievement—73. Summary of the
foregoing chapters ..... Pages 71-no
PART II
The Formal Conditions of Artistic Expression
CHAPTER I
SOME ELEMENTS OF EFFECT IN THE ARTS OF FORM
§§ 74. A new branch of the subject ; the function in Art of the prin-
ciple of ‘order’—75. Every work of Art must present itself as a
Unity—76. Visual impressions derived from the Arts of Form-
77. The Elements of Effect in Architecture ; Masses—78. Lines
in Architecture—79. Light-and-Shade and Texture in Architect-
ure—80. Colour in Architecture—81. The Elements of Effect in
Sculpture : distinction between Sculpture in the round and Relief
—82. The forms presented in Sculpture—83. Contour, Light-and-
Shade, Texture and Colour in Sculpture—84. The colouring of
antique Sculpture—85. The colouring of Mediaeval Sculpture—86.
The Elements of effect in the Graphic Art—87. Relation of Paint-
ing to the other Arts of Form—88. The Essence of the Painter’s
Art—89. How the Painter is prepared for his Work—90. Imper-
fect forms of the Graphic Art ; Line-drawing—91. Representation
of solid form in the Graphic Art—92. Graphic delineation as aided
by Perspective—93. Aerial Perspective and its Study—94. Colour
in the Graphic Art—95. Texture in the Graphic Art—96. Light-
and-Shade in the Graphic Art . . . . . 111-152
Contents
xi
—59. Festal aspect of the artist’s general surroundings at Flor-
ence—60. A fourteenth - century description of the Florentine
Festival of San Giovanni—61. The artistic outcome of the brilliant
festal life of mediaeval Italy—62. The difference between the
artistic expression of the Greeks and Italians—63. The large
scenic picture ; how it was conceived and wrought—64. The
Frescoist of the fifteenth century ; his character, surroundings and
work—65. Interior of a Florentine workshop—66. How the votive
chapel was painted—67. A Cycle of Fresco-paintings—68. Con-
sultation over Cartoons—69. A visit from the dlite of the city-
70. The technical processes of Fresco—71. The Master at work-
72. A critical glance at his achievement—73. Summary of the
foregoing chapters ..... Pages 71-no
PART II
The Formal Conditions of Artistic Expression
CHAPTER I
SOME ELEMENTS OF EFFECT IN THE ARTS OF FORM
§§ 74. A new branch of the subject ; the function in Art of the prin-
ciple of ‘order’—75. Every work of Art must present itself as a
Unity—76. Visual impressions derived from the Arts of Form-
77. The Elements of Effect in Architecture ; Masses—78. Lines
in Architecture—79. Light-and-Shade and Texture in Architect-
ure—80. Colour in Architecture—81. The Elements of Effect in
Sculpture : distinction between Sculpture in the round and Relief
—82. The forms presented in Sculpture—83. Contour, Light-and-
Shade, Texture and Colour in Sculpture—84. The colouring of
antique Sculpture—85. The colouring of Mediaeval Sculpture—86.
The Elements of effect in the Graphic Art—87. Relation of Paint-
ing to the other Arts of Form—88. The Essence of the Painter’s
Art—89. How the Painter is prepared for his Work—90. Imper-
fect forms of the Graphic Art ; Line-drawing—91. Representation
of solid form in the Graphic Art—92. Graphic delineation as aided
by Perspective—93. Aerial Perspective and its Study—94. Colour
in the Graphic Art—95. Texture in the Graphic Art—96. Light-
and-Shade in the Graphic Art . . . . . 111-152