To what its agreeableness is referable. Various instances-Especially in religious art

Whether the agreeableness of symmetry be in any way referable to its expression of the Aristotelian ἰσότης, that is to say of abstract justice, I leave the reader to determine; I only assert respecting it, that it is necessary to the dignity of every form, and that by the removal of it we shall render the other elements of beauty comparatively ineffectual: though,oil paintings for sale, on the other hand, it is to be observed that it is rather a mode of arrangement of qualities than a quality itself; and hence symmetry has little power over the mind, unless all the other constituents of beauty be found together with it. A form may be symmetrical and ugly, as many Elizabethan ornaments, and yet not so ugly as it had been if unsymmetrical, but bettered always by increasing degrees of symmetry; as in star figures, wherein there is a circular symmetry of many like members, whence their frequent use for the plan and ground of ornamental designs; so also it is observable that foliage in which the leaves are concentrically grouped, as in the chestnuts, and many shrubs—rhododendrons for instance—(whence the perfect beauty of the Alpine rose)—is far nobler in its effect than any other, so that the sweet chestnut of all trees most fondly and frequently occurs in the landscape of Tintoret and Titian, beside which all other landscape grandeur vanishes: and even in the meanest things the rule holds, as in the kaleidoscope,oil painting for sale, wherein agreeableness is given to forms altogether accidental merely by their repetition and reciprocal opposition; which orderly balance and arrangement are essential to the perfect operation of the more earnest and solemn qualities of the beautiful, as being heavenly in their nature, and contrary to the violence and disorganization of sin, so that the seeking of them and submission to them is always marked in minds that have been subjected to high moral discipline, constant in all the great religious painters, to the degree of being an offence and a scorn to men of less tuned and tranquil feeling. Equal ranks of saints are placed on each side of the picture, if there be a kneeling figure on one side, there is a corresponding one on the other, the attendant angels beneath and above are arranged in like order. The Raffaelle at Blenheim,the Madonna di St. Sisto, the St. Cicilia, and all the works of Perugino, Francia, and John Bellini present some such form, and the balance at least is preserved even in pictures of action necessitating variety of grouping, as always by Giotto; and by Ghirlandajo in the introduction of his chorus-like side figures, and by Tintoret most eminently in his noblest work, the Crucifixion, where not only the grouping but the arrangement of light is absolutely symmetrical. Where there is no symmetry, the effects of passion and violence are increased, and many very sublime pictures derive their sublimity from the want of it, but they lose proportionally in the diviner quality of beauty. In landscape the same sense of symmetry is preserved, as we shall presently see, even to artificialness, by the greatest men, and it is one of the principal sources of deficient feeling in the landscapes of the present day, that the symmetry of nature is sacrificed to irregular picturesqueness. Of this, however, hereafter. cheap oil paintings