Great architects and designers were not the only ones to use this simple
line‐idea; the masters of pictorial art have based upon it some of their
best work; (opposite page).
These tracings from a variety of compositions, old and new (No. 36), show
that this combination was chosen either to express certain qualities and
emotions,—majesty, solemnity, peace, repose, (Puvis de Chavannes)—or
because such a space division was suited to tone‐effects (Whistler’s
Battersea Bridge), or to color schemes (Hiroshige). These should be copied
exactly in pencil, then drawn enlarged. Find other examples in museums,
illustrated books, or photographs, and draw in the same way.
The student must, however, be warned against mistaking a mere geometric
combination of lines for an aesthetic combination. There is no special
virtue in a rectangular scheme or any other in itself; it is the treatment
of it that makes it art or not art. Many a commonplace architect has
designed a tower similar to Giotto’s, and many a dauber of oil paint has
constructed a wood interior on a line‐plan resembling that of Puvis. So
the mere doing of the work recommended here will be of little value if the
only thought is to get over the ground, or if the mind is intent upon
names rather than principles. The doing of it well, with an artistic
purpose in mind, is the true way to develop the creative faculties.