DOI Page / Citation link:
https://doi.org/10.11588/diglit.19949#0056
COMPOSITION OF LINES AND FORMS.
of these masses should be treated as the principal; and the
others dependent upon it and eontributive to it: but it is
necessary that they be distinct in appearance and place,
although all coincident m respect of the proposed senti-
ment. Whatever form may be determined on, it is
necessary to guard against a fixed regularity—an equality
and repetition of parallel) rectilinear, and circular forms;—
indeed whatever be the general outline of these masses,
it must neither be too regular, nor, on the other hand,
too much broken ; the continuity must rather be slightly
indicated than absolutely and sensibly determined. And
in order that nothing may be wanting, the various
components should preserve an evident relation among
each other; they should be associated in such a manner
that none may appear entirely detached, the larger masses
being broken and relieved by the minor and subordinate
Hill-*
parts ; showing a whole so well balanced, that no one
part can be abstracted without the deficiency being at
once felt.
If we turn to the frontispiece, and consider the dispo-
sitions observed in that composition, we shall see that the
positions of the principal objects are not the result of
mere chance, but that they are brought into this com-
bination from a particular point of view, which is
determined as most favourable in this case to picturesque
composition. The principal features in the view are the
bridge, the stream, and the mountain. By the emphasis
of these masses should be treated as the principal; and the
others dependent upon it and eontributive to it: but it is
necessary that they be distinct in appearance and place,
although all coincident m respect of the proposed senti-
ment. Whatever form may be determined on, it is
necessary to guard against a fixed regularity—an equality
and repetition of parallel) rectilinear, and circular forms;—
indeed whatever be the general outline of these masses,
it must neither be too regular, nor, on the other hand,
too much broken ; the continuity must rather be slightly
indicated than absolutely and sensibly determined. And
in order that nothing may be wanting, the various
components should preserve an evident relation among
each other; they should be associated in such a manner
that none may appear entirely detached, the larger masses
being broken and relieved by the minor and subordinate
Hill-*
parts ; showing a whole so well balanced, that no one
part can be abstracted without the deficiency being at
once felt.
If we turn to the frontispiece, and consider the dispo-
sitions observed in that composition, we shall see that the
positions of the principal objects are not the result of
mere chance, but that they are brought into this com-
bination from a particular point of view, which is
determined as most favourable in this case to picturesque
composition. The principal features in the view are the
bridge, the stream, and the mountain. By the emphasis