By Van Pelt John Vredenburgh 1874-1962
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Extra resources for A Discussion of Composition, Especially as Applied to Architecture
In other words, in a strong composition, one of the chief missions of the secondary motives is to make compensation for their existence, by abso^ lute conformity to the characteristics evinced in the climax. ' " Die Hauptgesetze des Menschlichen GefOhlslebens," p. 211. STATED LAWS. From the point of view of form: two lines compose one with the other when the tinues; 47 when or second. In the first first is leads into, and con- perpendicular to the this latter case the lines also give con- trast.
P. 234. THE PEINCIPLES OF COMPOSITION. " Thus the first of these laws elements are either all tell us that where the pleasant or unpleasant, in order to obtain the greatest enjoyment or the least distress each element displeasing than its must be more pleasing or ing the second of the laws,* Lehman gives the ex- ample of a suite of unpleasant sensations pleasant sensation. To less Explain- predecessor in suite. and one obtain the greatest delight must precede the pleasant The suite of unpleasant sensations may howone.
44 In a composition wMcli sequence, this position in a drama, How is is to be appreciated in at the end; as, for instance, an opera, or a succession of pictures. our perceptions are sated by the repetition, in like degree, of a sensation, is too well known — we are too familiar with the trick of taking a pinch of salt after pudding, in order that in an we may find sweetness orange— to make a long discussion of this statement necessary. In a composition to be apprehended by a single glance, the principal motive should be placed where the eye will most readily find it, not too near the edge of the composition.