LIBRARY University of California Received ^.^^.^^yT. . 189^. Accession No. S^'KfyO . Class No. LfJS€i I Tmfm^ WSkM % 1 i m \ 1 m w 2s 1 1 i war a 1 s% ^ i 1 |M f< 1 i 1 ^ m 1 i 1 n 1 i i 'A% m r*^ ^ i ^1 »f ii m^i^m? Ya PSp ^ 5^ i M ^ s 1 i $1 juj ^ 9^ UP sv i ^i !^ ^ 1 '^'Wh/, ^ww)9 o 4(1 /^^^^ y Principles & Methods IN Vital-Art Education ILLUSTRATED SUGGESTIONS TO ART STUDENTS & TEACHERS [51I1. Edition] By Principal John Ward Sfimson of the N. Y. Inst, for Artist-Artisans 140 West 230 St., N. Y. C. &r a/ ^'7 140 WEST 25D STREET, NEW YORK, S'jnt AUTHOR'S PREFACE, These few leaves or Summaries of Thought are the quintessence of a lifetime of earnest and conscientious study, wide travel, and long, practical experience in professional teaching and superintendence over many departments of applied Art. It is the .OUTLFNE of a Conviction— or Inspiration— drawn therefrom, and based upon the widest and sincerest scientific generalization attained. Its sug- gestions, implications, conclusions must be left to posterity and to Providence — but the record of their already far-reaching helpfulness and upbuilding among sincere thinkers and workers, by whom they are digested and applied, is a private treasure which time only sanctifies. They are intentionally left in the condensed, suggestive form of Class-room and Lecture Synopsis, that they may the more broadly reach, incisively stimulate and effectively unite general research into that stupendous FACT of DIVINE BEAUTY, so persistent and pervasive a Presence and a Power, a Reality and a Revelation, around us ! And that they may show to the mind that Vi talizing SPIRIT is more essential than its varying forms ; and eternal PRINCIPLES more pregnant and precious than their infinite examples. It desires to supplement, not supplant, all sincere preceding work, and to enhance and illuminate the otherwise too frequently chaotic collections of illustrations in museums and libraries, to which, with those of nature, we are gratefully indebted. JOHN WARD STIMSON. " One thing have I asked of THE LORD that will I seek after : To behold THE BEAUTY of THE LORD and to inquire in His Temple." " The BEAUTY of THE LORD be upon us— The work of our HANDS Establish THOU it." " Theji shall SEE to whom no tidings of Him came, And they who have not heard shall UNDERSTAND." " THOU flllest the immensity of space with THY PRESENCE. " —(Bible.) These MOTIONS, everywhere in Nature, must surely be THE CIRCULATIONS OF GOD ." — (H. D. Thoreau ) INTRODUCTION. BEAUTY is a very different thing from ART, or even from Individuality and Character in Art. All creative fashioning is " Art " (either in the lower or higher significance of the word), and that construction or combination of forms, colors, sounds, dramatic actions, etc., which conveys to other spirits a conception of an artist's imagination, may easily convey his " individuality " (so that we recognize him in his work) or may so admirably express the organic social conditions (from which he and his work comes) as to give great " character " to his art, yet without really giving BEAUTY. Thus a Chinese monster in bronze, a grotesque Japanese dragon, an Aztec idol, a Polynesian war club may be crowded with artistic individuality, and even with the significant character of the age or civilization producing it, without at all producing BEAUTY. So The Divine Artist of nature has designed (with quite equal " Art" skill, but not at all similar intentions toward Beauty), both the loathsome toad and the exquisite humming-bird. Indeed the former seems to contrast and set off the latter. If we remember one all-important revelation of the science of this century, viz., that "all visible substances are composed of separate atoms, which never touch each other, but are held in variable relations (numeric, quantitative, qualitative, distributive) by a Spiritual Force which is ever the same (though differently named in different manifestations), and that It reveals to the mind and heart of man Its own intellectual and emotional character by means of these very " relations of atoms," we see that the all-important service' of a true art teacher is not to make mere technical experts in technical recipes and for external mimicries, nor to make foreign mannerists of students to speculate in fads, poses, fashions; but rather to free students souls from this very slavery and degradation by revealing to them those wonderful internal and Spiritual " Relations " which constitute BEAUTY above mere " Art " alone. In short, to stimulate their own creative imaginations to see and re-express for themselves and their country the vital secrets of Essential Beauty in bird-of-paradise or lily-of-the-valley over essential ugliness in dragon and toad. These principles and laws are universal and just as present and important for America as for Europe, and of course they are more appropriately and organically expressed in each country, in direct connection with that country's own climatic and social conditions. Thus BEAUTY in Japan has ever the delightful subordinate flavor of the Japanese life. And BEAUTY in Greece had similarly the flavor of Greek taste and qualifying local sentiment, without destroying the cosmic overruling laws perceived. Ugliness also can have its own conditions and be qualified by local color, as ugliness Greek or ugliness Roman, etc. Never was there a greater mistake than that either beauty or ugliness is "skin deep," or that "there is no disputing about taste." The elements and principles that constitute both beauty and good taste are eternal and universal, in spite of those lighter and superficial qualifications that give them individual or national "flavor," just as we detect the divine beauty of any noble woman (which calls for universal admiration), even when it is allied with racial traits proclaiming her Greek, Italian, French or other. It is of supreme importance that these supreme PRINCIPLES be known and vitally assimilated by every nation, that each may keep free and characteristic while obeying universal law. We readily recognize the pregnancy of this truth in other departments of education than our art education. Thus the education of our youth in scientific or political or moral lines of public service is not conducted (by the best instructors) in such a way as to make them merely "technically expert," or mere mimics of foreign situations, but rather in such basic principles of science, states- manship or morals, as to enable students freely and forcibly to meet every new problem therein, for themselves and for their business or country. So our West Point cadet or Naval Academy aspirant would not be crammed with technical data as to Caesar's camp kits. Napoleon's accoutrements, or even the naval architecture of Nelson (as though such implements or incidents were ever to be duplicated), but rather grounded in those military and naval Principles by which — under wholly different conditions of climate, country and equipment— similar results might yet be obtained, and thus be created a wholly new Washington, Grant, Lee, Farragut, etc. Nothing is more evident than that to obtain such vital independence and personal power for our national art as for our national science, economics, ethics, etc., we must abandon the shallow, servile or mechanical methods, leaders and schools, (however pompous) which have so long betrayed American genius for foreign mimicries, fads and affectations, and begin, at once, along newer and more vital lines, with deeper, broader, more vitally inspiring leadership to study, assimilate and readapt (to our own nationality), those secret but Sublime Laws and Universal Esthetic Principles which constitute forever the subtle charm in the art of nature and history, yet which forever allow for the local flavor of soil and climate, with individual and social conditions, 1st 2d 3d 4th SUBJECTS OF STUDY. OPIRI'T of Nature - (in which she acts.) 1 h A /y' J, OF THK JNIVERSITY AS Principles of Nature ( Laws of Nature - (by Methods of Nature ( MANIFESTS.) LIMITS Her Esthetic Actioh./ EMPLOYS IN Her " " ) \ Originality. Individuality. Freshness-in-FainUiarity. SinipUcity-in-Complexity. Varietj' in Equipoise and Unity. Spirituality, Ideality, Poetry. Mystery, Suggestiveness. Promise. Aspiration, Inspiration, Self- Revela- tion. Vitality, Energy, Daring, Sublimity. Restfulness, Stability, Serenity, Self- Respect. Care, Temperance, Freedom-Wise. Patience, Endurance, Ruggedness, Discipline. Truth, Frankness, Openness. Scope, Universality, Generosity, Rich- ness. Fullness, Completeness, Finish. Taste, Refinement, Purity. Delicacy, Grace, Charm. Joy, Play, Sparkle, Brilliancy. Felicity, Facility, Fertility, Variety. Immortality, Goodwill, Furtherance. Sympathy, Beauty, Perfection. Fkr -ception. In-sight. Purpose, Forethought, Plan Arrange- ment. Conservation, Transmission, Progres- sion. Unity, Order, Regularity. Equality, Equipoise or Balance. Dominance, Subordination, Co-ordina- tion. Selection, Rejection, Control. Emphasis, Proportion, Symmetry. Gradation, Crescendo, Cadence. Harmony, Co-operation, Accommoda- tion. Discretion, Propriety, Fitness. Consistency. Adaptation. Conformity. Flexibility. Congruity. Sensitiveness. Reasonableness, Naturalness, Whole- someness. Wisdom, Utility, Efficiency, Economy. Sincerity, Genuineness, Honesty. Clarity. Decision, Definiteness. Embellishment, Fascination. Fruition, Achievment. Sustained Pleasure, IJMITATION AND CONDITION Space, Length. Breadth. Thickness. Sequence. Force— "Pulsion. E " ergy — Vol itio n . Static. "Dynamic. Tendency— Action and Reaction. Pulsation— Rhythm . Motion — Centri iugal. petal. Opposition. Directness. Tension. Angularity. Contrast. Repetition. Competition. Continuity. Equilibrium. Extension. Co-operation. Progression Co-ordination Procession. Organization. Revolution. Growth. Evolution. Persistence. Expansion. Reproduction , Dispersion. Recoustruct'u Straight. Oblique. Rectangular. Parallel. Curved. Undulate. Circular. Cylindric. Conic. Ovate. Elliptical. Parabolic. Hyperbolic. Spiral. Tangential. Radial, etc. FORMULAE.— FORM. Structure— Function. System— Skill. Relation.— ScALE-RiTio. Transformation In-tegration. Dis-intcgration. Re-integration. Numeric. Quantitative. Metric, Geometric. Distributive. Formal. Dynamic. Structural. F^unctional. Vital. Intellectual. Emotional. 5th Spirit of History. its limitations. methods and styles . character . AS Repetition. Mechanicalizing. Parallelism. Conventionalizing. Series { I;;"^^^- ( Plane. Literalizing. Individualizing. Reflection. Generalizing. Contrast. Symbolizing. Alternation. Idealizing. Counterchange. ( -scribing. Juncture. Trans- -j -lating. Overlapping. (. -muting. Interlacing. Linking, Looping. Cabeling. Strapping. Interpenetration. Fusion, etc. Media, suggestiveness. 6th Spirit of the Present. Its Limitations, Mp;thods, Styles, Character. " Media. " SUGGESTIVENESS. 7th spirit of Special Technical Media, character, limitations. SUGGESTIVENESS — Laws of LIGHT and COLOR. Processes. Limitations— optical. EVOLUTION IN ART. Eurit^i TRorad'iow syw-^it^. ! "^ ^l""^/— '»«>>«,[„ *i).fJ^ Nature's Triune Manifestation. 1ST. Abstract Truth in Spiritual Ideals, Relations and Volitions. 2ND. Concrete Good in progressive, transitional, material Embodiments. }RD. Eternal Beauty in Perfected Purposes and Revealed Vital Principles. MYSTERY & UNIVERSALITY 1st LESSON-CHART. ATTRACTION— TO RHPT'LSION-FROM Intangible Immaterial SPIRIT Emotion— Imagination y- Mind— Reason. V _ Tanjfible Material BODY Mattkr — Sensrs. Nehd to Fked 3 Heart 2 Minu I Body Man Animau Beautiful — Art Good — Religion True — Science Man excels Beas'i. Beast excels Man. Harmony of Ali» Survival of Best SHOW-That cver}-\vhere about us is LIFE. Its MvsTERV and UNIVERSALITY invite to study. By terrestrial limitation Man is unable to know All, but entitled to know and use All He Can. Hence the student should approach the subject with both Modesty and Courage, and retain both these and MYSTERY a.s elements of artistic charm. The Soul of Man reflecting and responding to the Soul of Nature. ' LIFE is the main source of interest — in ourselves and our work. Distinguish between Quantity of Life (which generally decides its Passing Interest and Individuality) and Quality " " ( " " " " Permanent Intere.st and Beauty). We are irresistibly drawn to and fascinated by LiFE — in Man and his Works. " " " repelled from its opposite — Death — " " " " Our Art, then, must pre-eminently possess the quality of Life — genuine, organic, individual, interesting (not sterile, imitative, mechanical, perfunctory), And be refined and ennobled by " Beauty — (which comes from assimilated Principles). SHOVr —The fact that, scientifically, nothing comes from Nothing — something always from Something. That we can therefore logically reason back from Mind and Heart (Intellect and Emotion) in Man to "~^^ " " " ~' " God. That (in our ignorance of what matter is) there may be an analogous Body— perhaps found in Nature or Cosmos ("There is," says Holy Writ, " a terrestrial and a celestial " —the glory different.") That Life about us can be divided into — I. The tangible, material, physical Body- 2. intangible, immaterial, spiritual Soul- (which we touch, handle and weigh.) " wecanaot," " nor " butl " " can appreciate spiritually " " " assimilate and reflect in work. That SotJl, communicates with Soul through Senses of Sight, Hearing, Scent, Taste, Touch. Whose bodily organs convey impressions from the outer world by means of vibrations or communicated Force. The Soul receives and judges upon the motion, measure, intensity, arrangement and significance of these Impressions. (As a blind musician " " " " " " " " " of another's harp.) That a variety of agreeable or disagreeable (physical, intellectual and emotional) Impressions are thus transmitted. Such as j- harmony " discord, \ gentleness " harshness, I sweetness " pungency. etc. That beauty, delight, good judgment, good taste, etc., may be conveyed through all the senses, but the highest sense is Sight— the one man is last willing to lose. By it is established the one Universal Language, which in optical art makes all nations akin, and all mutually intelligible. Japanese, Italian, French, German or English under- standing each other's art language when utterly incapable of comprehending each other's linguistics. The Artist is the Soul which manifests Beauty by any of these senses. But the highest artist is he who works in the highest ways through the highest senses. SHOW — That in mere power of organs the animals far excel man- f The hawk outsees Michael Angelo, ■> \ The hare outhears Beethoven, etc. / But in the subtler power of soul perception, behind the senses, man far excels the animals. The hawk sees— the artist per-ceives. The Soul may be broadly divided into the Intellectual Realm of REASON, and Emotional Spiritual FEELINGS and SUSCE PTIB ILITIES. That food and cultivation for these is more important than food for bodily functions, for the first are the main concern of intel- ligent and spiritual beings, while the latter are the chief concern of the brutes. That Volition is the highe.st responsibility of free Souls, by which some choose io pursue .special research. Scientifically for the True, ethically for the Good, esthetically for the Beautiful. Though "These Three Agree in One." LESSON ll.-OHART 2. I, IMITATION. RRLATIVITY. APPROPRIATENESS TO .SPHERE. SELECTION. The "ARTIST" selects A SENSE CHANNEL, through which to study and to express 3 2 Emotionai, > W n Aeter tr. n a O r Self 5 O 3 BEAUTY Intellectual During Teacher IN I Material Before Nature TREE OF LIFE. Cosmic. National. Artistic. Germ. Vital Force. Plan. Method. " i.st, The BLADE. 2d, The EAR. 3d, The FULL CORN." iSHOW — That as Earth is but a limited part of cosmos, not only is Limitation a part of it and of mind, but a characteristic of human work. That the attitude of the artist must immediately be that of Interpreter, not Imitator, of Nature. That as She is so transcendently his superior, all his best attainments must be but relative, and that they are best when frankly relative; suggestive merely, and appropriated to conditions. Make clear the impossibility of painting each leaf or grass blade. The beauty of SUGGESTION. How the instant this true attitude is taken, nature gives us all her best— her Spirit. The nobility of our SELECTION and INTERPRETATION will decide the nobility of ourselves and work. SHOW — ThatofallSEEKER.s, the "Art"Student has selected to study the Artist — his r Realms, I Ideals, " " Seeking, " Artist " " Artists, " Optical " (( (( (( (( <( BEAUTY. Conditions, Relations, Etc. Co: I Re express : } through the channel of The Eye. SHOW — ^That Beauty will necessarily have a Emotional 3 iNTELLEc-rUAL 2 Material I Aspect, rising relatively as Life Force evolves and advances to higher expression. Thus, the grain of the rosewood or mahogany Body to our piano contains such attractive records of the life progress of Nature in its fibres, such clear revelation of her way of working, moving, feeling in early vegetable realm, that we polish it and call it "Beauty-full." Then the interior mechanism of the Piano, its chords, keys and attachments, may be so intelligently formed, measured, arranged, that we perceive the plan, order, proportion, adjustment, and call it "Beautiful " again. Lastly, the musician sits down to it, awakens the chords, pours out through its agency his sentiments and inspiration, and we reach Emotional Beauty. " Intellectual 3HOW — That the Material aspects of Beauty are generally acquired by us directly from nature during the long years of childhood before coining to the Art School. " are to be acquired more properly during school from the teacher, who himself has had to be taught them, and so conveys onward the technical traditions, experiments and discoveries of the preceding centuries — in his special profession— and that this is the true service of an art school and art teacher. It is not a studio, nor should the student's personality be swamped by the teacher's. " should be largely developed by the student's own self, independently, after the art school era, and as in the case of his own affections, aspirations and ideals, should be the free choice of his- own will, the expression of his own spontaneous spirit and individuality. Thus, alone, it will have flavor, freshness and rvevelation. " Emotional " fHO' V— The mystery that, while the minutest germ contains the entire intellectual and emotional forniute which are to express the distinct individuality, sentiment and beauty of every rose, lily, etc., yet there is a carefully observed principle of Order and Sequence in these stages of manifestation, from lower to higher. A nd this is as true for the race, nation and individual. That, as Christ averred, "the kingdom of heaven (and hence terrestrial civilization) i^ as a germ planted and springing up by the special steps of— 1st, the (supporting or structural) ' Blade ;' then the (carefully distributed and .sheltering) ' Ear :' then, at last, 'the Full Corn,' " so is it with all wholesome life »r.d life work. That optical Art is one of the most irterestiug of civilization's branches, and has itself many twigs or '.icioi-s. LESSON lll.-CHART 3. THE ART TKACHRR Guides and Cultivates thu Skxtimknts DKVELOPES the lNTEM,iaENCE AND REASON RivvivES Memory, Quickens Observation TRUTH DIVINE ABSTRACT OF THE Student, into the 3 Bkautikui„ 2 Good. I True. 3 BEAUTY; Human, Ideal. 2 GOOD; Natural, Concrete. I TRUTH ; Divine and Abstract. SHOW— That the legitimate work of the true Art Teacher is 1st. To Revive the Memory and quicken Observation of tlie Art Student, so as to secure data and a physical basis in the Student for 2d. The development of his or her Intelligence and Reason in Aesthetics, and 3d. To Guide and Cultivate his or her finer Sensibilities and Sentiments along the line of the True , the Good and the Beautiful, which are but phases and manifestations of the Same Divine Life. SHOW— That Abstract Truths are the germs and cause of the Good and the Beautiful, and should be clearly understood and exemplified at the commencement of school work. That " the things which are seen are temporal, but the things unseen " (yet/^n:eived) " are eternal." Schools, teachers, manifestations, earth herself changes, but Divine Principles never change in essence, though they are infinitely varied in their applications. That the whole course of Nature is a steady Revelation of Divine Principles, in all phases of life. The germ of every flower, for instance, contains in its infinitesimal bosom an abstract plan from the great creator. His Intelligence, Purpose, and even Sentiment is there hidden, ready to be revealed when the proper chemic principles have been com- bined with the Aesthetic Principles. The Life will then proceed forward, take up the numeric, metric, formal, and distributive Beauties, together with the peculiar Individuality Character and Poetic Sentiment of every flower or bird. That while the observance of chemic and mechanic principles may conduct forward and distribute force, and life be given alike to wolf or lamb, to evil or good, yet the observance in the Life of Scientific and logical principles, alone constitute Reason— " " " Ethic principles " " Good — " " " Aesthetic principles " " Beauty — (( (( (( it (( SHOW — That the Soul must look within itself for those deep, divine, but abstract Principles of Truth healthfully suggested by divine intuition and inspiration, approved by sound Reason and Logic, recorded as Science, and committed to the care of sensitive Conscience. That the Soul must look to the wholesome and sheltering provisions of a kind Nature (as the expression of a mysterious but protective Providence) for Concrete Good, and to Ethic Principles in Reason and Conscience for Moral Good. That the Soul looks to the long efforts of Human Nature to discover and embody latent Principles of Beautv revealed in the creative Father's work, for Aesthetic Ideals and Metliods, amply demonstrated by His work in Nature, and by man's best work in Historic Art. IV.-SUBJECTS OF STUDY. SHOW SHOW SHOW How out of the Mystery of Life that surrounds human Spixit on its b2ing ushered into terrestrial conditions, probably the first state it recognizes is Consciousness, extending throughout the Body as Identity, and then to Self as iNDivinuALiTY (distinct from others, though related). From this in later years it may rise to consciousness ofOwiGiNAl, Being and God. That thus all art creators and creations are entitled to (and should possess) that supreme quality next to Organic Vitality, of Identity (throughout itself) ; and " Individuality (in itself, distinct from other workers and work) ; and as far as possible OriginauTy (to person, time, place, etc.). That as the Spirit of Man becomes impressed by Power, and conscious of Power, and (through the infinity of efforts within and around it) detects (i) Cause, (2) Agency, (3) Effect out of original Motive, so the Artist and his Art must show (i) An original Motive ("motif ") as Cause ; (2) The choice of appropriate AGENTS to attain ; (3) Sufficient and satisfactory Esthetic Effects. That as the SouL becomes impressed with Time conditions in Past, Present, Future (as distinct from Eternity), and as the Great Creator works terrestrially by the fundamental Principles of Selection 1 so these essentials in Volition and Order of Procedure and Sequence 1 must be contained in the works of human Art. For, as the poet Milton puts it: "There is a Scale of duties, which for the want of studying in the Right Order all the world is in confusion." That as every life reveals Spirit and Motive, moving out by Order and Selection from the mysterious and abstract LIFE back of Nature (in the Past) through the concrete but ever transitional forms (of the Present) to some equally wonderful Purpose and Revelation (in the Future), so the Art student should not only search for and acquaint himself with the abstract iesthetic Truths and Motives contained in the Past, but watch and adapt himself to the cesthetic Needs, Conditions and Forms of the Present ; and so transmit them to (and even forecast) the marvels of the Future. More than this — for the best growth — he should educate himself according to this Sequence and by these stages or steps of Nature. Obtaining (as every living plant does) the Abstract Rea lities (that, though invisible at first to sense, are perceptible to In-sight) ; acquaint himself with the Beauties discoverable in abstract Number, Quantity, Mag- nitude, Motion, Direction and Relations of the same. The Formul.*, Type Forms and Functions which are afterwards.' visibly manifested and embodied in every flower or bird, the better to understand and ultimately express their full significance and character. Each Art Education and Art Creation should, like a building, have its deep though hidden foundation and inner Construction, before its outer or more optically manifest Forms (which are overlaid). The Japanese greatly delight in, and extract great beauty from, these abstract relations of Number and Geometry ; and, indeed, in ail past Arts and ages they have been held sacred and symbolic. It has resulted that from among them have been selected certain abstract "Type" Forms and " Type" Relations which, to thoughtful and philosophic artists, become pre-eminently wonderful and suggestive as the standards from which all others are derived. (Of these we will give ramples later.) Everj- true work of Art, iike a true growth of nature, should manifest in' itself, when co:npleted, a combined Power and Beauty resulting from the organic union in itself of Truths that are abstract traditional and preparatory: I hen others that are concrete but mediate ; and finally others that are idealistic, suggestive and spiritual. • • • • ♦■ V r . f * * ■* -^ ♦ -♦<,♦■*: '^^ * * • ^t • •* ft -7^^ il- * (X ->fi^- >*?■>!!:- O O A A Lesson v.— Chart 5. SHOW— That man learns to recognize, that if his race and the earth he inhabits were er.gulied in some sun vortex, still there would exist throughout heaven the same eternal conditions and properties of NuMBKR, Quantity, Space, Position, Motion* and even Matter — responding to the Spirit's questions, "How many?" " How much?" "How large?" "Where?" " Whence and whither?" with even the added qviery " What?" ; and that, as the Human Spirit is part of Universal Spirit, its operations— physical, intellectual or emotional (hence aesthetic) — must be conditioned by the above, and take cognizance of them. That Chaos or Confusion is abhorrent and even painful to the Soul, the wild forest being from earliest days a symbol of horror, and the studded vault of stars shot with irregular meteors being a source of terror and irrational fetich, till intelligence progresses sufficiently to detect and so gain peace from Order and Regularity. (Each growing child renews this experience.) SHOW— How the Soul finds in Unity the sense of Re pose, Simplicity, Str engt h, Concentration . That by a necessity of its being, it will seek and should find in Unity, Rest from confusion of interest But (by a similar law which balances life and happiness between Rest and Action), the Soul will suffer from a sense of monotony or bleakness, if Unity is too long and strongly forced. The Soul will then find its way back through Duality to Multi plicity (or Variety) , and so back again to Unity, till it obtains Variety in Balance. a nd Unity. How the Savage, ignorant of astronomy, while gazing at the chaos of yellow star-points in the blue sky, might become conscious not only of Time Unity in their Existence and Interest; Space Unity of the blue plane in which (apparently) they stood; then of Unities in Magnitudes, Distances, Relations (as in Constellations); in Inclinations and Directions (as where the " Pointers" of the Dipper point toward the Pole Star); or Unity in Motion (as where nightly the Dipper circles around the Pole Star) ; and by extending the comparison to Earth, find Unities in circular, elliptic or crescent Forms ; blue, roseate or yellow Colors ; and, at length, Earth's own Unities of Substance, Texture, Function, Character, Sentiment, etc.; and at last the vaster Unity of Divine Laws and Design. He might even see, in the sky itself, that beautiful ..Esthetic Principle (above referred to, and so often revealed in Nature), of Domina>it Unity, " Repose, Simplicity, Strength," concentrated in the controlling Sun, carried over to and balanced by the subordinate Duality and Contrast in the Moon, then dispersed through the well-propor- tioned Variety of the Stars. SHOW — How Duality, while it awakens new Interest, divides the Interest, the mind and eye flying back and forth between them. Yet, if the Element of Unity is retained in them (as by common magnitude, direction, motion, plane, color, form, character, sentiment, etc.), then the eye and mind find increased interest, and the aesthetic value of the unit is fortified. Thus, a face is far more beautiful for two eyes than one, even if that one were in the middle of the forehead, and equal in magnitude to both combined. And so two gate posts or two door columns, bound by the Unity of the lintel, arch or capstone, lose some of the commanding dignity of the single column or obelisk, but gain in interest, etc. According to circumstances. Two may also convey the idea of Contrast or Opposition. For instance, if Unity is kept in Form and Color, but Magnitude, Inclination or apparent Motion differs, the sentiment of Contrast is at once awakened, and in the case of each the eye and mind sway between them till the Dominant Magnitude, Motion or Color is found. Thus, according to clearly comprehensible Laws and Conditions, the sentiments may be Eesthctically awakened of Control, Subordination, Contrast, Opposition, Dispersion, or Concentration back to Unity. SH0\y— How Three or More produce the idea of Variety and Richness, which may become Complexity ajad even Confusion unless Balance and Unity are established, and unless sufficient System and Co-ordination enter to impress the observer with Unity in the Motive, Treatment, Light, Action, etc, Lesson VI.— Chart VI, 1^, * « • « ••♦• ■:;:. * a • # • • • « « • • -11 « • « « u m * « * • SOUAKE "i*- CUIE ROOTS t:^:^5^^^ SEEP-GRAS^- TREfS - CL0OP5 V roRESTi" 4» (5) 51 i? - @ @ @ @ © ^ >^ ; »^ ¥> ^ S8IE7 ^fef' ^'^J Vi3^ <^ <^ <» <^ ■ < ^ SHOW — That the Soul may be conceived as Thinking outward from the Centre of the Brain to Infinity (though incapable, apparently, from earthly limitation, of thinking Absolute Infinity or Eternity). But, from conscious UNITY in itself, the Soul can conceive of the Addition, Multiplication and Division of Units, z. e., of Abstract Number with its Properties and Processes; (and this irrespective of the notions of Order, Direction, Size, Form, etc., in which the units may be taken, and which may or may not be associated.) SHOW — That in the same way the Soul may conceive of SPACE inside as well as around and outside of itself — thinking from the centre of the Brain to the confining skull, through and beyond in all directions into Infinity. Into this SPACE it may project, abstractly or concretely, its concepts of NUMBER — (Separate) — in " so many" units. QUANTITY — (Continuous)— as " so much " — of any agreed unit as standard of Measure (as "pint," etc.). SPACE — (Extensive) — as " so large " — of any agreed unit as standard of Magnitude (as "inch," etc.). ( in one direction, for line. Which space unit may be considered as extensive, } in two directions, for surface area. ( in three directions, for volume. Man has established, from convenience and necessity, i — Length, Three Standards of Reference in J -|- Breadth, ( * Thickness. The Standard Angle is the Right Angle — reflecting itself around its centre in three 'horizontal," are planes, equidistant at 90°, of which planes two, the " perpendicular" and again Standard relative to Earth's Centre. Lineal Series — as pearls on a string, -as spots " leopard, bush or in cluster. The Artist may think of Units in ] Surface Volume — as flowers rrmT n> (^ (^ f^ £J1£1L XLXiX n-t-t-r SHOW- Units brought so close together as to appear Lines. He may conceive (even abstractly) of I Lines " " " " " Planes. Planes " " " " " Solids. (Exemplified in nature by grasses, leaves, trees, etc., optically blending as in above chart.) He may conceive (even abstractly) of Units of Line, Surface or Volume Arranged for practical or artistic purposes in various definite Forms or Patterns. He may conceive (even abstractly) by help of Imagination, entirely New Forms or Combinations such as may never have been concrete on Earth but yet fulfill all necessary artistic Conditions and Principles (as the romancer does his fairy tale, or Michael Angelo did his Sibyls and Angels). These may afterwards be associated with matter concretely and worked out therein — The same Idea remaining Beautiful in many embodiments, in many materials (as where the same conception of a beautiful bureau may be worked out in oak, cherry, maple, etc.). -That the Arrangements of Units in Series becomes more and more agreeable to the Spirit, and hence " to the eye," as we see the Principle of Unity extend itself over the elements involved (as indicated in Lesson V. , and to the degrees there explained). ( Sun=a Circle. Thus, as our marginal illustrations show, if we take 1 ,, t:>ii„„„ „, (^,„„„„„f ^, ' ,.,j-^,.^i^iT^ J- ,.-it.i c \ Moon=Elhpse or Crescent, three symbols for the Celestial Forms dominant in the sky; as for ) ( otar=^a otar. If we introduce, ist, the Element of Unity by Line Attachment, as in the Savage's bangle. 2d, " " in Size or Color, " Pearls or Gold Coins ; 3d, 4th, Distance ; Direction (of the individual units' axes) — a steady increase is gained in the sense of Order out of Chaos, and the first great law iu concrete life as well as ornamental pleasure is obtained of Regularity, Uniformit y, and " Repeat." The experimental units may be almost what one wills— humble or noble, simple or complex, sc long as they Embody Principle, and may be associated with concomitants of Color, Lir ht. Texture, Inclination, Tendency, Motion, Type, Standard, Sentiment, Character, and they vvill awaken the Sense of Beauty. LESSON VIL— CHART 7. SHOW— That as Number pervades everything— (" He numbereth the Stars,— even the hairs of your head are numbered ")— a jvery distinct character in Beauty depends upon Number (We would look very differently if we had as "many" legs as a caterpillar, or arms as an octopus. This we quickly perceive in the many legged and armed idols of Indian temples. The very number of the daisies in the field impresses us quite differently from the isolation and rarity of a " century flower.") Number give s Insistance — forces the Attention, reveals the Intention. (Many bison feeding impress us quite differently from one lone bear — Many swallows, rrom a solitary soaring eagle — The many arms raised, of a congregation or crowd, from the one priest or officer officiating.) And though in all Multii'i.ication, the sentiment of Unity is preserved in the unit repeated, yet we mark the Increase of Interest (up to a certain point) by Insistance, and the consequent Esthetic Law— (derived from Mathematics)— that: I The More impressive the Unit is (from any cause, such as Size, Interest, Complexity, Vitality of Color, etc.), " Less do we require its multiplication, in Design, to reach the same quantity of Effect. (As would be the case with the strokes of a bell — The stronger the pepper the less needed to season the soup. This should be remembered in decorating our rooms. A small quiet pattern in wall paper may be oft repeated, where a "noisy" one would distress.) So too — with Volume — in Quantity — as with the "majestic " effect of Ocean distinct from sparkling ponds, brooks, goblets. Or " Space Magnitudes — in Pattern — as a giant from a dwarf, shanghai from a bantam. Church from Chapel. " " " ~' " Distance — as the close proximity of round Units in the peapod, from the separated Units on the peacock. Here Nature generally shows that wise Decorative Judgment founded in MEASURE. By which she reveals to us the wonderful Principle o{ Proportion— (or Proper-Portion) — a larger decorative unit for a larger decorative space. Stronger foreground for broader background, etc. SHOW — That under this — " — category, are several considerations of great importance to remember later. Everything terrestrial is seen to have its " proper" Limits; " " Measure — relative to Earth and the objects on her. " " Measures — " " Itself, and subordinated to itself. Here will ultimately come in consideration of that great topic of Com-mensuration — of which a phase is known as Sym-metry. of Metre — Ratio — Scale-Standard, etc. Science now joins with Inspiration to show us the Great Creator has veritably " measured the water in the hollow of His hand meted out Heaven with His Span, weighed the Mountains " " Scale and " Dust " " Balance." SHOW — How Everywhere are Equations, numeric, quantitative, distributive ; latent or visible ; in chemic, mineral, vegetable or animal Existence. Many of them appear retained with rigorous exactitude. How wonderful are some of the Concrete Formul.* in Chemistry and Animal Structure! How strange that the tree is so measured to man that its fruit, which feeds him, is high enough for its protection, yet low enough for his attainment! That fingers and toes are so rightly numbered, measured, and located that they best beiit and aid him in his career. And so with the parts of every other vegcable or animal. These Measures of Nature may be regular or irregular, and, as often occurs, regularly irregular. In Ratios which " " ascending or descending, " " " both ascending and descending. By Scales and Standards to which they are deliberately and delicately proportioned. The few cases where Disproportion seems to exist — as in the beak of the toucan, legs of pelican or seal, belly of bullfrog or eye of owl — are generally explained by the situations and conditions of life — and indeed Nature herself is not above an occasional play with humor and comedy. In general, however, her constant and delightful display of delicately adjusted Measures is so clear a manifestation of Her Spirit, and so eminent a Necessity in Beauty, that this faculty of the Student's Soul must be early developed by Observation and Practice. TA/s will bring freedom and strength, and free the student from slavery to plumb lities and artificial or mechanical props. Most wonderful are even the Abstract Equations of Pure Mathematics and Geometry, as showing that the very foundations of Nature, as well as All Form and Beauty, are Spiritual, and laid in Spiritual Relations — (as the accompanying and later charts will show). CHART Vil. m^^A ) [\/| T I f ) N \^'^'Hii 0M3 ^] Fpm iiU. ili^ ^^ ■ff) ff .*i^W xxxxx>:<5coo _ )O0CO00000Oi ) jooooocoooo; XXXXXXDOCCci XXDOoobcocc' 1 3ooooooocJoci cxxxioooooooor ; «m9?t999H; : : :-x)Oooocooooc. :==oooc««x«oo! 66li' oooooogooocc' OOOOOOOOOOOC' OOQOOOOOOOOO, ,3 • OO • OO ■ O* ' JO • 6." CO • o ' ! . . . < oooooooooooo J OO oo OO ; C<3 (> OO ; • •': "T . - -JOOOO, 0*>o _' I CO OO .'. Too I CO • CO • CO ^"si'.'bVi Xf •• '• !• i. H\, ■ !,_,„_.^ !-_ . > xx>ocDoc:>j i::iSlxC-S7 J aa OO •>• OO - OO - OO ;. ■ ttttt I s:::;;^:;;St >c£k>cc>occ>1 S^iHSf ^f^.i. "^:;::r3 <<:occ>>co . K^oBo&> M3?^ M380£ i!S!§!S I ■]8888: ^■-••^8888 «~?''V$°^°^»°^^M^,}Q( !>oCOoCO i3 ' 00 00 00 r • oCOoCOoCO i 1 ■ 00 00 I 00 ( lj«^ TUiJ£:ii!!i\ . ■-• W^^ife^^ LESSON VIII.— CHART b, SHOW — Thik the Human Spirit has the power of abstraetly conceiving and considering any Positions, ReiaL'.ono sttT Arrangem'^iia! i Points in Space that it will — whether conceived within the narrow limits of the skull or beyond and about it into Infinity— and from earliest ages has delighted to so image and study these abstract Relations of Points, with their ideal lines, angles and planes, (independently o^ material substance.) That theae powers and projperties of Space Mensuration and Comparison, which we term Geometry, lose nothing of their certainty, reality, and beauty from the fact that Earth supplies DO "pertect" concrete duplicate of them, from which they could be inductively derived ; or that our ink lines (of what we term "perfectly straight, square, or circular" diagrams) are, under the microscope, very irregular and imperfect ! These mate- rial expressions are but convenient pictures to symbolize the even more truly " real " Perfections of the Intellect. Trigo- nometry, Astronomy, and even practical Phyaics live and grow upon these Spiritual Perfections and Powers, (in spite of all physical iraperfectioils or obstructions.) The orange, egg, or pupil of the eye may be but imperfect suggestions of the true sphere, ovoid, or circle, on which they are planned, but do not invalidate the perfection of these corresponding psychical IDEALS nor the certainty o^ the charm and infinite mystery ^Yhich belongs to them. V It is well, therefore, for the student to practice and experiment with these beautiful Geometric Relations, in order both to stimulate his Imagination and test his conceptive and lomposing, faculties in contrasting, checking-, balancing, overlapping, and correlating them in every possible way — first with instruments and then by "free hand," and lastly ' with the Principles of Art Composition, that will be explained and exemplified as we proceed. The Oriental fancy has been wonderfully prolific in these germinal ^nd suggestive figures, which, indeed, underlie all the beautiful iirt of God and man. The accompanying chart is simply a "starter" for the Inventiveness of the young, to give a tew "steps" and " motives " (from which endless combinations may be generated), and without anticipating the explanations to follow shortly why certain figures have a peculiar Individuality and Charm, and a marked decision of effect in proximity or combina- tion, (dtie to what is scientific as well as aesthetic Law.) In the chart of my preceding lesson (which is a diagram of lineal equivalents to purely mathematical equations), A Principle of very great moment must be noted — that not only are they beautiful by the Law of regularly repeated ecd contrasted units, but the aesthetic impression of MOTION is generated upon the eye and brain ; rhythmically first, then swerving, breaking, straining, controlling, combining, and at last composing harmoniously— or playing fieely about centres of control, and within limits and conditions oi pleasant Composition. Lesson IX, SHOW — How the smallest conceivable Unit of Space (termed "Point") may, by Spirit, be given Position anywhere, and relative to Spirit's Sklf, may be within, without, before, behind, under, above, beyond itself. Man does not know " where " in Space he or his Earth is — but relates both to steadier stars, — nor whether " within" God or "without," "beneath" or "beside" Heaven, etc. — (these terms being relative to other centres — Man's Spirit being only a "centre" to him, on this star). But, (as Mr. Emerson explained), '■ Mind being the magn et to find Mi.n'D, a nd Character to find Character," or, (as St. Paul explained), " Spiritual Truths being spiritually Disckkned," man's Spirit "discerns" everywhere Universal Plan and Law as Spiritual Manifestations, and so reverently concedes the seer's truth ; "Thou fiUest the immensity of Space with Thy Presence! In Him and for Him are All Things!" Still more deeply Man feels Mind's mysterious and intimate relation with Omnipresent Soul, when out of infinite or infinitesimal Space (far beyond vision in delicate gases, chemic solutions and protoplasms), risk into the range of Sight, nebulous worlds, minerals "accreting," organisms " growing "^myriads of Embodiments of Divine Ideals, with persistent, consistent and logical Relations (numeric, quantitative, distributive and formal : perhaps dynamic, structural, functional; or highly vital, intellectual, emotional); and he discovers that he can (somewhat like God) summon from the infinite depths of human spirit endless kindred and wonderful Ideals, with kindred Relations. And though he cannot add (save to his organic child of flesh) that "Vital Spark" which gives independent existence by "growth," still to the children of his Intellect he mav give such definite Form, Beauty and even Substance that they become tangible and visible and possess a certain spiritual Life in vitali>.ing other Spiriis. Still better, he finds his spirit capable of discerning and being msDircKi by Motives, Principles and Methods manifested in the Creations of The Divine Artist, and so capaoie at remanifesting the same, and incorporating into mere human creations a kindred Fascination and Immortality. Indeed, right here in this Susceptibility to Spiritual Intuitions ^nd Inspirations consists Genius, (as the iron needle athwart the magnetic current is " dead," but, swinging into line, is " polarized," and can polarize other needles). In this Susceptible Response to Divine Motives, Principles and Methods, consists the Power of Seer, Poet or Artist. The Measure of Divine Pressure upon him is the measure of his Genius ! Herein seems to lurk the secret origin of Force Itself! For once granted the mystic Formula of Eternal Mind, which all space contains, then, by a Cosmic Consensus in Harmonious Spirit, every fraction of Itself obeys, even to that which may be a lower condition of Itself (humanly termed "Matter"). All of this Matter, which within terrestrial compass is termed " physical" and " atomic," moves to the Impress of Immanent Intellect and Will (stupendously reasonable and resistless), and according to this Influx and Susceptibility secured, would seem to arise the Ratios of Motive Energy, Whether known as Chemic Force, Vegetable Vitality, Animal Will, Human Reason, Moral Choice and Volition. Therefore Life appears to be the Distributed Vital Energy of the Divine Spirit Entering ( (Perfect) Celestial, -; (Imperfect) Terrestrial '- (Purgatorial) Infernal, Conditions and Relations according to degrees of Spiritual Consensus. (Divine) Art appears to be the Introduction into Life of Perfect Physical 1 and Spiritual Conditions and Relations for Cosmic Expression of Divinf. (Naturall Art appears to be the (more or less) Perfect Embodiment of these (Hiimanj'ART appears to be the (more or less) Perfect Embodiment of these Divine, Natural and Human I Conditions and Relations Conditions and Relations Imagination, Sentiment, Principles, Motives, Methods. Terrestrially, Apart from human agency. Through human agency, Andwith added limitations of Personality in the agent. Beauty appears to be the Perfect Embodiment of Perfect Ideals, appropriately relative to special Time, Place, Circumstances, Materials, etc. Every gem, bird, flower or child has clearly "in embryo" a divinely Artistic Ideal and Concept, which it holds, (and Time cannot destroy — though it may appropriately modify to environment), and which it is the La w of its^LiFE and Well Being to approximate. These Ideals seem ever based on numeric, geometric and distributive Relations of special Fitness and Significance, which constitute Form Reasoning and Formal Art. Now here is to be noted the important truth that not only is the Art of Nature a Divine Poem, full of interest and delight — a Cos mic Language which other celestial worlds must comprehend if they too are "made according to His Image " (or Ideals) — but only in the measure that man puts Life, Intelligence and Meaning into the which his Imagination creates and collates, can man's Art have Beauty and SiMificance. and V Surfaces < ^ Concrete J Solids I Good Form Implies Good Formative Ideas and Ideals. Lesson X, From the "shape"-less Forms of chaotic dream, nebulous fog, smoke, swaying bubbles that are but four millionths o» X an inch thick (yet occupy space and are visible to sense), to the definite beauty of the Apollo Belvidere, we have the whole range of FORMAL ART, {Structure and Motion — by Lines. Decorative Pattern — " Surfaces. Organic Functions — " Solids. All expressive or insipid — in themselves and their combinations — according as the artist's spirit is potent or impotent. They take measure and meaning from the Mind that made them. Art Education Must Always Commence with Spirit, therefore— even as Life commences with Germ and continues to Material Embodiment. It should never be mere mimicry of the shell of Nature, nor blind borrowing of technical processes only. Nor does it commence with "Technical Process" and end off with Spirit. Feathers do not grow birds, but birds grow their own appropriate feathers. There is no such thing as good " Technique " without good Spirit first, for the Special Spirit of an art work must suggest its own Technique and Treatment. Ideas and Ideals must inspire to effort — Meaning Must Inform Matter — Sentiment and Principles Transfuse and Ennoble all Media. Upon a clear comprehension of this hinges the whole success or failure of Life and Art, and indeed the whole Evolution of a National Art, as a Natio.n's Liff, depends on its putting Soul above Body. For, as a great Art genius once said, " Expression cannot exist without Character as its Stamina, and Character and Stamina can only be given by those who feel them. Inappropriate execution is the most nauseous Affectation and Foppery." So let the Art student first conceive an artistic Purpose and Plan, then look about for the most proper Medium for its embodiment, as the gemi of a flower seeks appropriate elements in Earth to manifest itself. If the inspiration comes from some Idea or Sentiment already presented by Nature, analyze and appreciate well this "Nature Poem" in its artistic aspects, and viewing it from that side select the most characteristic for the Art purpose, holding these simply and saliently. Then select what medium and treatment will best convey these. Rich and pulpy fruits may suggest oil colors ; light, transparent flowers may imply water color treatment. Or of these, some may be so dainty in form and delicate in texture as to suggest jewelry, glass, or porcelain application ; others more bold and freely flexible, lend themselves to clay and open carving ; still others are so current and clambering as to adapt to borders, so aspiring as to go with panels, so formal and flat as to suit floors and walls. Let us always feel and see the Spirit of God or Man in our Art — for Nature plus Human Nature is Higher Nature, and wherever these appear, in any material, we alone have High Art, for the "aristocracy" does not depend on the medium, but on the Spirit in the Medium. In all good and perfect work there will also be a certain Spirit of the Material preserved, which is its essential sentiment (implied in its textures, properties, limitations, etc.), such as Hardness and Endurance in rock or iron, Plasticity in clay. Transparency in glass, . Preciousness in gold, etc., etc. This we must sensitively guard, as the elements of Material Substance in Nature are mysteriously connected with the very Ideals they are to convey — a truth beautifully announced by the sacred poet (long before modern science confirmed it), "Thou sawest my Substance yet being imperfect, and in Thy Book all my members were written, which in Continuance were fashioned, when as yet there was none of them." — (By the spectroscope we can detect the same materials in the celestial worlds above.) Now, this "Continuance," or Principle of Continuity, (alike in The Ideals and The Force effecting the ideals), is not only one of the most convincing proofs of Mind and Will back of Nature, but one of the most fascinating and wonderful facts of Art. Certain Ratios and Forms seem to be as immortal as Nature or Mind itself. On all sides we see The Creaior taking delight in remanifesting certain Type Forms (which also forever delight us), as though they were a DIVINE ALPHABET from which Cosmos itself is derived like an immortal Poem or Book of God. The Square. Cylinder, Cone, Circle, Ellipse, Spiral, Pentagon, Hexagon, and Star, l-Sd over them reign, in supreme Beauty and Significance, those Three Great Primaries, The SQUARE, CIRCLE and STAR;— (frgm whiph all others are derived). Of these the foremost are LESSON XL Now, to understand the Charm and Character of these wonderful " Typo Forms " and " Primaries," v.e must rccosnize the origin of their Beauty and Style, in the peculiar Relations they present, which indicate remarkable and constant Tendencies in the Intelligence and Will they convey. As the eminent Electrician, Edison, once said: " Every atom seems possessed by a certain amount of Intelligence from God. In harmonious and beautiful Rixations, they assume a beautiful order, interesting Shapes and Colors, or give forth Pleasant Perfumes, as if expressing their satisfaction " These Relations and Forms seem to please the Divine Mind for themselves (relative to Attributes in Himself), for man finds them in spheres and orbits above him, forms about, under, and even within him, and actually before he ever was. As Job exclaims ■ "Thou makest the grass to grow where no man is." Space, Form, Beauty, exist therefore, in Spirit, beyond man or matter, though revealed to man by Mind and Matter. The human spirit's consensus with general si'irit, "enables it to reach out indefinitely into space and locate points (as minute but actual fractions of space) at any Distance and in any Relation we please. We can conceive auo perceive these space points extended into lines, surfaces and solids (either by an expansion or multiplication of themselves), and feel our own and other spirits contemplating, measuring or creatively brooding over these Space Intervals and Relations (as St. John saw the angel with the measuring rod over the Celestial City). But the process itself of "extending," "measuring," or (like the Spirit over the first waters of life) "brooding," implies forcs operative in Mind or Matter. Now, the Centre of a form may be considered its Germ; its inner structural axes are its Skeleton ; its marginal surface boundaries give its definite or "apparent" Form; but the Power Itself which "measures" the "Relations" must be Intellect, and the Power which holds its parts together must be will. The Generative and Creative Power is Imaginaiton, and the Materiali-iing Power is Art. Thus are spiritually generated the loveliest Divine and Human Conceptions, before ever they are concretely " realized " — but th=y are none the less " real." Every Artistic Form — " Ideal" or "Natural" — from Minerva of the Parthenon, to the daintiest humming-bird, must be intelligently viewed as presenting : I St. — Thoughtful imagination and plan in its definite Measures and fixed Limitations. (Numeric, quantitative, formal, etc.) 2d. — Will, in the stress tensions of the original energy, and in the Directions " " " (relative to the Centre of the activity). 3d. — The Individual Co-operation of its Parts toward Combination from their positions in space (relative to each other). 4th. — The ultimate Resul t (or Resultants) from the Equasion (or Equasions) of the Angles of Energy. Which Resultant is its total Individuality and Expressive Force. Thus every " Type Form " and " Primary " is found to have organic character and style. (As, of course, must all derivative forms proportionally have, in Nature and true Art; If, therefore, we consider these in connection with a few primary a.kioms of science, j wo will discover there are just as clear and absolute " beauiy. ) Thus, the clearest Science of the Human Mind to-day assures us that : " The Unive^?se is of necessity Infinite in Space, Time and Mass. " Cause and Law is of necessity universal and un variable. " Matter is inert (static), will alone (dynamic) ca n move i t— for we know matter from space alone by the measure of our will which we exert to dis-plaee or re-arrange it. " Energy is primordial, indestructible, continuous, convertible (and so known to us as force and motion). (Normally) proceeding in all directions equally, unvarj-iag in quantity and velocity), from absolute unity to relative Units and Centres. (Practically) differentiated, deflected, transmuted to Diversities and Individualities. Hence Action and React i og rAtq^ttoa^jd Repulsion, Alternation and Rhythm. These Planes aa^»ii*ections of Ten"aoi^ntain the Laws of all Structures and Forms. ^,U,--[^ Lesson XII. •' The Universe is an orcanic whole; growth being from within outward, by a perpetual Pulsation and Rhythm which begets Evolution. " The Highest Development of Force implies the greatest Freedom ) ~-, , 7 — — V Attained in Life, Combined with spontaneity m opposite directions. ) (Where Pulsation is most rapid, with Equilibrium of opposite tendencies). " Force tends to free itself from Matter more and more, and appear externally. I Simple, "Energetic," Crystal. " Hence Life Forms divide into Fwo S eries, | ; | Matte r dominant over Life | " Living," Vegetable. I 2 I Life dominant over Matter | "Animate," Animal. " Every minutest particle of JIatter is made mobile by the indwelling Force. " Life ever implies a Constant Return to the Centre of Force for a new lease of E.xternal ICxistence. " In every finite part of the Universe is an Ingenerate iiias from Chaos to Cosmos. " Each thing can manifest itself completely only by representing its being. ist. In Unity, zd. In Individuality, and 3d. In Diversity. The general tendencies of Nature thus apply Energy ~| ~ , , I in an indispensable through Form ' , ., triune way." by Matter j Hence, most beautiful'.y and marvelously Material Nature takes three Primary Forms and Stages of Expression, most clearly revealing these Primal Tendencies and Attributes of the Spiritual Like creating her. They appear to continue in Character, Motion, and Sequence as eternally as the Divine Will continues, thus inevitably impressing us, and enabling us to similarly impress others. The ist Stage and Form is that implied in the very Directness and " Rectitude" of every original line of atomic impulse — showing its individual Quantity and Intensity of Energy, and its obedience to the Principle that a straight line is the Promptest Path ("the shortest distance between two points.") Hence (aesthetically) Straight or "Right" Lines, Forms and Movements impress "the Eye," (/. e. Mind) with a sentiment of swiftness, purity, penetration, vigor, and, as it were, the Dignity and Truth of Law. They are eminently masculine in Quality. When a cluster of atomic impulses have no fixed mutual centre, and are contending, as it were, for the fullest measure of individual Expression, Dominance and " Right-of-way," we have in this Competition and Comparison, the ist Stage of Civilization for Matter and Mind, Society or Art. (In Matter it is represented by the repulsion of Gases.) As corollary from this we note : that when Two directly opposite impulses aie equal and simultaneous — the Point or Atom is in Rf.pose of Tension. when equal and unsimultaneous — " " " Beat or Pulsation. when unequal and unsimultaneous — " " " Undulatio.n and Rhythm. An Oblique Angle or Curved Line inevitably implies Relativity of Forces and Subordination of one to another Standard. Th3 "Perpendicular," "Horizontal," and " Right Angled ' Relations are terrestrial Standards of Repose in Tension and Equilibrium. The Perpendicular, or "Upright" is (humanly) the most dignified and imposing, as impressing on the mind the Prin- ciples of Rectitude, Self Reliance and Equipoise (from v.'hich all Deflection may be measured). Under this Primary Consideration we have a quantity of "Vigorous" Decorative Forms, beginning with the Square. The beautiful Principle of Parallelism or Similarity of Tendency, is contained in the Sides of the Square. The 2d "Primary" Stage and Form of advanced Relation (alike for Matter, Mind, or Art), is v/here between Two distinct Impulses, one is frankly Dominant and Controlling (centripetal), the other frankly Subordinate and Auxiliary (centrifugal), at constant and equal distance. An advanced sentiment is generated of unity-in-duality, of Repose with Action, in just f.quii.ibrium. Enough of vigor with enough concession, enough conservation with enough progression, vyith no suggestion of inner conflict, but a healthful advance from competition to co-oferation. Then we have generated the superb (" feminine") form of THE CIRCLE, with all its multiform modifications and combinations (which in Matter is reflected by the passage from the angular tension of gases to the globular and undulate liquids. In the 3d " Primary" Stage and Form, of higher Combination, by which Many Impulses are Co-ordinate and Co-organized in Unity and Equilibrium, we have the highest (Radi.\te) condition of Matter and Mind, and hence the Perfect and Definitely Composite Beauties, which become germinal in Nature, and possess the pov/er of Fructification, Fruition and Recreation. The transition to this Radiate Relation gives us many beautiful intermediate and secondary forms (Oval, Elliptical, Spiral, Tangential, etc.) All of the above are constantly and concretely presented to us by Life, in every diversity, but never lose their essential influence in equations of Forms and Force (with which we must aesthetically and socially count). Their Correlation or Composition under subsequent Principles of Selection, Prop ortion. Emphasis and Expression, constitute the Eternal Foundations ok ORGANIC STYLE. ~— ™™-~- J X CHART Xll. ESTHETIC MANIFESTATIONS OF THE SPIRIT-OF-NATURE ITHE PALETTE °^ LI FE. ?T~1 £ ^1 Cjo \ rrr ^^ ^ t f ■ •« i LIFE Vy force SECTION SECOND. lesson xiii. Vital Art Development and Expression. 2d. 3d. The great Founder of Christian Civilization once told his disciples to leave the Pharisees and Doctors- of-the-law in their doomed conventional " Church " or " Temple," and come with him (as " living stones ") for a quiet walk (even on the Sabbath day) into the fields of NATURE. And stopping them before A LILY, He " CONSIDER the LILY, HOW IT GROWS." That is: Reflect carefully, by what Organic Methods and Principles, it achieves its vital Progress. Let us "consider" this wonderful Object Lesson of Eternal Life, fron. foundation upward. 1st. We note A LIFE FORCE, in nature, which no man can create, but which lurks latent (An Intellectual and Emotional Power) between the particles of otherwise dead or static Matter — Ready to use matter as its fulcrum or agent, when conditions of light, warmth and moisture are favorable to its purposes. Whenever a special Qerm IDEAL (such as the seed of lily, tulip, grape, etc., containing its own intellectual and emotional formulie, opens its life to union with the mother life of Nature. Her greater Life is willing to bring its special individual life to expression and fruition. Each seed is a condensed Divine Ideal or Poem, perfect and potent wheresoever carried. Under the guidance or incentive of each healthy " Germ Ideal," the Life Force moves forward, not only to a concrete revelation of itself and the "Germ Ideal," (by means of mobilized material atoms) but also of Eternal PRINCIPLES and METHODS pursued by Nature throughout her handiwork. Such as Logical ORDER from cause to effect; CONTINUITY and REPETITION of effort toward definite Result; including definite Direction of MOTION toward that result; with Space and Time LIMITATION, from beginnng to end of the movement (whether vigorous and angular like the easter lily, graceful and undulate like the tulip, or playfully curling like the vine). SELECTION also of fitting materials. Careful relative MEASURE or Metre, involving delicate PROPORTIONS to definite standards and Ratios of Extension. SYMMETRY and BALANCE of parts and measures. Form — characteristic and constant for each Individual Ideal, or completed phase of individual expression, through lineal, surface or solid extension of the parts. Conic, oval, spheric, etc. COMPOSITION, or arrangement of Parts for total effect, constituting Beautiful Design, and attaining Unity in Balance and Variety. The Sentiment and Intellect alike of God shown. Color, Odor, and Texture may still further announce the Individual sentiment of eagh Germ Ideal. And finally light rising over it in the morning and setting over it at evening, may add a constantly varying play of shade. While out of the perfect and completed Ideal ripens a family of her new Child Germs, each containing the immortal Ideal, and capable of perpetuating the Divine Miracle ! 4th. 5th. 6th. 7th. 8th. From this we draw the important lesson that Materialism is Death, while Spirituality is Life, for matter is but the agent or medium through which to manifest Divine Ideals on earth. That we must, like good guardians, bring these Divine Ideals (committed to our care) into vital union with Nature's willing Life Forces, under proper conditions of intelligent " Light," affectionate " Warmth," and even the " Moisture " of chastening tears. We must give them continuous movement in the direction of the Ideal, selecting appropriate material to record and retain the advance. Measure, proportion and properly balance the relative parts. Develop each in order. Evolve and correlate individual and organic FORM and COnPOSITION expressive of our Ideal, and finall>«give out to others that Color, Fragrance and peculiar Texture which is the exponent of our sensibility toward them and also their sensibility toward us. Lastly under the light thrown upon our work by Heaven and the peculiar angle of oliservation of each spectator, let us accept the different "shadings " and " points of view " inevitalile, so long as in Heaven's sight we produce and perpetuate Divine Beauty. What is true of the Art of LIFE is equally true and appropriate for the Life of ART, whether Optical, Literary, Dramatic, Musical or other. All material must be made subject to Mind and Emotion for the expression of Esthetic Ideals and Principles. Thus perpetuating ETERNAL BEAUTY. Materia and Instrumentation are nothing until they express the organic Ideality of each individu.al and nation, and no School is truly an Art School, nor method truly an Art Method which does not vitally and organically cultivate the Spirit of Beauty, Nationality and Individuality before the dead Machinery of Mimicry, Technicality and Mannerism. Unless the young, therefore, of America are kept alive, individual, thoughtful and constructive in their education, in deep sympathy with the Spirit of Nature and National Character and keenly awake to the Message and Beauty of their own times and materials we can never have a fresh, interesting and permanently valuable National Art or National Life. JOHN WARD STIMSON. N. Y. Institute for Artist-Artisans. Lesson and Chart XIV. The Three Pr im e (or Grrm inal) Relations, Forces, Forms, Values and Colors presented in Chart XII may be blended and modified indefinitely by Art and Life. A few of those which come earliest and easiest for the pupil are presented in Chart XIV (a). ^"All forms, whether in primitive or complex conditions, should be comprehended first in their Internal Structural Like (of Centres, Axes, Angles, Measures, Motions) befo r e Dr a wing, as in Chart XIV (b). The curse AND DESTRUCTION OK TRUE ART OR EDUCATION IS SO ULLESS, SENSELESS MIMIC RY, or the Superficial imitation and mechanical reiteration of externals, without perceiving or presenting the Internal Life, organic character and SPIRIT th er eof. This fatal error passes into the later life and character of mankind; into its work, worship and worth in civilization. The utmost simplification or conventionalization of forms for Decoration should still be based on KNOWLEDGE and FEELING. Knowledge to possess the best facts of life. Feeling to perceive the best sentiment and significance of those facts and arrangements. Lesson and Chart XV. This chart gives a suggestion of Varied Influences which forms have upon each other, in Concentric Combi nation, by Twos. The student should practice and observe these fully and try experiments of his own for pleasant results; first treating them in line and then in surface, and noting what influence varied Values of light and dark, open and closed Spaces, contrasted or harmonized Colors, present within them. Remembering also that as we approach the White or Light end of the Scale (see Palette Chart Xll) the forms and colors apparently gain force and size, while in approaching the Black or Dark end they diminish. Lesson and Chart XVL Extends this Form Experiment to more complex and familiar forms of shields, flags, etc. Lesson and Chart XVIL Gives a most important manifestation of how the mind (through the eye) is led along and entertained by the variety of Motions implied and suggested by Lines, Forms, Surfaces, etc., in combination. The figures of the Chart, together with the accompanying Text, speak for themselves, and should be very thoroughly studied. Lessons and Charts XVI 11 to XXlll Are a series of practical decorative Examples, derived from the Japanese, of The Construction and Multi- PLiCATiON of Decorative Units for Patterns in One Plane . When the Unit of design is regularly repeated in all directions over the surface, for its embellishment and enrichment, it is commonly called, in commerce, an " All over " Pattern. Students should notice that in all the examples of this class the Whole Design is either the multiplication of a Geometric Unit, or a Unit cast upon a Geometric " Base " or " Underweb," for regularity of multiplication. In some the Geometric Base is clearly revealed; in others it is latent or concealed. This form, or forms, played over and across the Base is called The Overlay. Sometimes in the multiplication of the decorative Unit over the Surface, the eye is not called in any special direction, but allowed to repose; or. is so drawn in opposite directions as to remain practically in repose; in which cases the Pattern is considered "static" or stationery. But in many others a distinct Motion or Tendency is generated to conduct the eye upward, down- ward, aslant, or in undulating, revolving, radiating, etc., directions. This Tendency of the Pattern is called its Set, and has most important consequences affecting the character of the Design, and its influence in artistic combinations. Such tendencies or "Sets" in the general effect are often quite unexpected to the novice in wall paper, textile, etc.. Design— coming to him in the light of surprises, as he sees his pattern unit (or units) multiplied by the process of manufacture, all over a surface. Hence it is well to study out the effect in mass as well as in unit. the examples of the series have been arranged by the author in such order and system, from Geometric to Composite and Organic Overlays, as to assist Students to see Principles (which should be the teacher's main purpose). CHART XIV (a). primitive: forms. ROUND RIGHT CHART XIV (b). o- ton ETRic Q.UA,tvlriTlE.S— .secTona ^^ QuAOHAur Strvi PCRCtt : To Bisect- VlNF-'^B u " / ro Drftw L'lne PERPE:ND1CUUA.1? To Dmw Line PARALUEU To Dr,.Y/TAN&E:NT thro^xjf, A. To 0.'v.<)^ WW CHART XVI!. ]- X\ II W—y^J) i vl-J/-4 n_S^.y^\J--V^NJ>U--N5^-g^5^e/2n^l5^ Pi ^ym *^. CRf SCEnDO J>i»-iin y l- N do ^RWiTV "^oTMii ^ OPTICAL MOTION IMPLIED IN LINES F0KM5 AMD ARRANCLMtNTS This Usson c alls ri i fMTrON OF STUDEMTb TO THf vVAYiM WHICH THE Mind I nStinCTivE it FOLLOWS THE 0) lRtniOt\/S OR T E NOENCiei IMFLliD IMTHE LIMES TORMS AND ARRAr-JCEMfNTS of FlCURE.5 THESE fJuBiMf NiARY f XAMPIE5 -"IE SoFFiCiEmt To show HOlv much PlAY UR. f NlfRrAiMMtNi IT iS'Po'iSlBLE TO Sl;'t,<;£^T TOTHt M 1 M) AND IMAC, I N ATlO'^ I HROuQH THE tY£ . On ACCOu\:i OF the LATENT Force, wpiuirvirtMTiO'M, NECESSARY To CREATE All FOR.MS- AL<,0 HOW SOMe (_0^' THf lefV) *re. CONrROH-EO '^'^D SrEADiet) rouMTf BY LATENT i^RA'lTY. SOMEWANDtR 5cMe leaPorspriimc, up>a/*\rd. Some SlAnT, C R05S. B alanc e . Some Pi-ay ABout CENTRES oF CoivTRoi-.(_iMPiieD OR. marked). Soi-lE REVOLVE. anPLNFOlD. Some i^NDuLATE .Su^ic raPiate . Some Rib£ BY CRESCEndo-DimimjEndo, ^ O ^1 f C 0^\6l^E INTERLACE mEAMDER ^OME CLEAvE OR SEVER . SOME ,E NCuoseo p,ycther FORM'5 Play WITHlNjTHEbE iM vARiEtiEi, OF Motion Co TRSELY To -tf-RSo^i Centre i> A KOTARy" F RET.5 (.F'feBAl.ANrc') '.'ONcewTii.ic » E.McLosLii;i- ' .(g) Q)^®; P-otakyGeRm Forms (Frff-tAiaNceJ CoNCf^f^.t fNcbseJ A \^.^ CHART XVIII. CHART XIX. THIS CHART rONSi 5TS MOSTLV Of C eometric UN/its oforivp(Ment; CONSTf?UCTED UPON A SIMPLE Rectilinpal U NDER-W&B or 3ASE ; WITH RECTANCLFD frSLPtlMT 5ETS ; hULTiT'LiE P 1 N O ne plan e. 7HE LA^TTHRte THROW THESETOF THF OVERLAY ■ir(?or'<.LV UP <^Dow»;, n > H X X ''W^^ i^M^N^ [X'X'X'X^X'XiX'XlX'X^ fx'x'XjX'x'x'f ■ '■'■'"" ;xi%?x;>?x\ 'Xi>?%^'X\/ \' ^ i? -* « ^^ ■», l-»-» -ft -» ■» -I? -J}' % ^ i.^rV/\ / ,■ (l w vy'/\ X rx^*:^**'^]- ^ vi cl s !? J I jj ^ r 1 ."^ ; ^ -^: L L 1 JLWJ m m M B %1 )^ Pi N.'^ \ \ ^ N ^^^ \ in E^ iniuuinnn inr nn nnr=z:r inruuiuunn; m m E H a a A— oc^ — ^— I ( >i\^ I -U: ^^ \\ Xazot^^^ w y \AZ\V/S505Br^A \AAaaavavatavata- I A 7V\AaV/V/\ V 1 ^KfeafeHi r.-^- sm&m \ \ ^: / / \.^m»-«sivs ^■,V... «.'-wS\.\W \/\/\ ^ ^OT V Y^ ^ ^ r^ AAr h Ml ^p 1 1 1 n ■x > X mm I SECTION III. LESSON XXIV. LIFE DRAWING. If a student has properly observed the Origin, Character and Influence of the Introductory F or ms and Relations hitherto presented, together with that most important of all considerations, the Beauty that comes Irom their proper Harmony and Control in Combination for special expression, he will be ready to perceive and vitally express these same forms, relations and beauties, when presented in more composite and complex situations and organizations. So, just as he should avoid all shallow superficiality and mere Externalism in drawing rudimentary or even mechanical forms, but rather see into their Internal Structure an d Relatio ns (the better to draw them in a true and expressive manner), even so the good draughtsman and true artist will perceive deeply and express vitally the Motions, Measures, Structures and Type Forms, involved in growing and moving organisms, such as flowers, birds, animals and human beings. IW' As architects comprehend the constructive relations of beams, rafters etc., that support and partition a building, and even reveal through the external shell this internal life of the occupants, so the great classic i sculptors of Greece and the master draughtsmen of Europe (such as Da Vinci, Raphael, Michael Angelo, Durer, s Rembrandt and Millet), deeply comprehend the I n ner Life and S ignificance of the living forms they present. ' Their lines are free, vital, deeply INTERPRET1VE~AND SUGGESTIVE. They scrupulously avoid all dead lines, ' all soulless "blocking systems" or monkey tricks. Their lines and forms are full of meaning. Through their drapery they feel and render the plastic flesh, and through their tlesh the strong structural life within. Like nature, they reveal, in each case, so much of this as is best for the finest artistic and poetic significance of the whole. So, as in the accompanying chart, let each "life" draughtsman proceed by orderly and intelligent steps — 1st. To observe and lightly record on the paper or canvas, the Main Movement of the whole figure. This line of motion (as seen in Section i of the accompanying Life chart) reveals at once the main expression of the action, and of course is not an external but an internal ( "ideal") line, "felt" by the artist, and should be delicately but bravely given at the start, and can be gradually overlaid and eliminated. 2d. The Main Measures and subordinate Motions should be carefully and lightly indicated. 3d. A proper knowledge of Anatomical Structure will show him that many of these main measures and points of flexure in the movements are not only preserved and marked in the Bon y Framew ork and Joints of Nature but, according to variety in action, are more or less revealed through the skin. 4th. Some of this same Bony Structure is also niade, by Nature, to follow and indicate clearly (as in the case of the ribs) the Type-Forms presented by the general Masses of the Fleshy or Muscular Portions. Thus the human head is based upon the oval. The human torse is a long oval, divided into two sections or basins, an upper one holding the lungs and heart, a lower holding the intestines, etc. These two basins f;ice each other and are bound by the connecting spine. The human arms, legs and fingers are conical ; hands triangular ; feet tri- angular pyramids elongated to the front. It is very important to feel these masses and their perspective in space. 5th. These preliminary structural truths being first delicately indicated, and, so to speak, cast up as a light "framework" on which to build in space, it will be found easy and natural to express, with free flowing and pliant lines, the plastic quality of organic and mobile forms, and that subtile charm and sense of reality derived from vital union of bones, muscles, tendons, etc (in the animal frame), which nature gives, and the Master Artists always preserved. The student would do well to study carefully in this connection the grand and immortal life-drawings of such classic masters as are above named, and whose leadership is infinitely more reliable than the spiritless shallow and wooden systems of many modern art schools (so called), depending on a blind and superficial . mimicry. ,.**iii^*«*- ,^ %Ki ^..auu 6th. When once the student has acquired power to express the forms of life in eloquent and living lines, he can consider the Shading or Grading of Light upon the forms — being careful to retain in mind the three main divisions or masses of Light, between Full Light and Shadow (as indicated in Chart XII), before breaking them into minor subdivisions. Main octaves should be recognized before notes under those octaves. And he would do well to carefully outline at first the planes of the light's gradation in a vital and expressive way, with a pressure of black no deeper than the shade involved, before filling in the shade itself Light can be best studied on white objects, like casts. 7th. He can then combine, with all the above, the Truths, Harmonies and Values of Character, Costume, Texture and Color, relating each color to the scale of light for its corresponding " Value" or depth of Dark. CHART XXIV. t.Gjv^'uAt/cLP ORQANtC ST£PS IK/ DRAUGhTSMANSKiP. S^^^'J J~ W StllvlSOV. LESSON CHART XXV. PICTORIAL PERSPECTIVE. OV THE ^. UNIVERSITY 1 PFRce-PTIon o\- SOLIDS FOR. C0N5TRUCT1OM it\ 1MDU5TRV TOKCE WEAKEtSlNC- A& iTPROCfEDS KAYS MOVE IM STRAIGHT LIMES umtil krflected -"refracted — Dispersed— absorbed— LiG-HT PFMETKATES UMEQ^UALLY DIPFEREMT SUBSTANCES whkh becorYiCL jf?,AM5 PARENT TRAMS LUCEMT OPAQUE COLOR, IS PRODUCETD -BV DlSPERSlOn AND ABSoRPTIOtS' — -SHADONA/5 ARE- DETERMINED BY. THE COIMSTKUCTIOn OF THE OBJ FCT AND POSlT/OM op THE SOURCE OF LiC-HT. tTTmoRHi^ OPTICAL RULES °f AERIAL PERSPECTIVE COMCEriTRRTlMC- 1 Lme-a^ ^^-^^^tW W.DIMIMISHIHG- FORCE- »t COLCR- DlMirilSHmG- .,..«.. MAC-MITUDES- V. DiMIMISHIMG- FORpE o^C0NTf\l\5T ^Ldiminishinc- DE-TAIL— LESSON CHART XXVI. KATURM- REPETITION. TKINCIPLE OF JIEPETITION. (^I'^e'^L - Sur£RTiciAi__ solid j (coMPARf LESSOM-SX) CONSTANT UNIT OP FOKM.BuT MOT 0FSlZ.E|I>ISTANCE^DIReCT70N ^ MORE Constant l/nit or sizE-iiisTANCE-DiRECTioK-(iiNEALVCoAfCEr\rrKic) (.supERFierALj C Solid ") ARTISTIC- Repetition of a constant unit of FoRM-oFsi2£-oTDisTANct-oF:Dii?ecTioN-AR.n/>.N'c;ErMeNr v<:. '^^^'^^^'^~' THE MIND BERIVINQ •PLEASURE fROMTHE RECURRENCE OF A PLEASuR/KBLt FORM _(uP TO SATIETY)- AMD WITH THE DEGREES OF UNITY AN P REGULARITY PRESEWTED . o o t) n I I (p) Co) Co) (°y ' — ft • ^ c MULTIPLICATION -(Q F the decorative. UNIt'inTWQ -DIKECTI0NS-OnSURFACE > f FOKMANY EXCELLENT EXAMPLES S&E. PREC6PlNq C H APTE R. - LESbO NTS XVIIl -ITynTl .') 1^ TosKow'Hitd'<»?RMlXLt Jud^x-m^ c inKumUel/NlT , ;tJjL «) wvcw vnuuffUilk jh^vloH'f fiUti:>lU TATTER?r . 1 ^^^S-^-\^,-|^ I CbLuwYU 1 "tt a,sfumr k-tkiiliAw.i^CgvvvMi^ livUfCovTattWAC} kaeti t (lWtUv'>n«Aa«K.4 4tfoUAv Lv^.'cUaKth!' Oldl^) OrOuM >< ttuSOAnt MAViKsX^^^ NEW TOC>i^S J.W.SUv* LESSON CHART XXVII. _ PRI NCIPLE OF PARALLELISM •' ~-^ W 'Y/' Constant inpepekdencc v- iNpiviDUALtTY-wrrH stmuarity qfiukection .or. c/niTy oFtREisfp. )^^^;^&^E^ lUePKiNC\Pveo^?AKAUElJlSM-ON all sides RtPKEStNTtS VN ^)^Tl)RE AHOT\R.T, 1^NJ) ONE. Of Tti.E EA^UY H AN » FESTftTlONS •of TOR.Ce _ \'^o6A»Ly CV«£S XT& ^EAWTY frN" FACINATION (as Tin ESTHtHC CLEhewT IN DESICN) TO tHt fLEASURt THE. NINO EXrtMtNCES IN NoTIN<; THE CONSTANT HAR.M0NIOO & USSCCIATION OF THE FRtt UNITS iMVOUVtP- -RNDTHeiR, STEACr TR0<>RES5I6K TO<;£THfcK, 7\T £a,VAL INTERVAL . TJ.ETA\N1NC; -THtVR X N P'ViPOAUTV AN& I N PEf ENPAnCc. WHILE AT THE SAMt TIME. T ENDlN^ r"T KE NI>IN< ;" IN f\ Common Ti rcction , THEReBv imflvin^ 7^ UWiry OUNFLUeNC E AND A SIMILARITY ^TMOyciM IVOT/ ABSOLUTE IPENT.TY) OF :RIM, J^O WBRO ST.^iS«.- LESSON CHART XXVIII. LlHl TATI ON , ;^i N c 1 ple: of METRE - ok, -AKTIST]C MEAS URE. r gvTrtoLueP 'rjASUPREMEVVlSDom wA^j^ LiM ITS Cor^JiXJgElS » CogjLiii^^ Hep- Acr.oN W Exi^iCNC^.I^ '^^■fe C^d ticJ^ tfc^ KEmCJRp^WHoNS^ Cov, 1 tc Life. W AKT . MEASURES , yvv-v? 5i^^f c^-.e S, W /'SPACE. P^ T>>.*:t'<^/wCAJ » So, l^^F0Ril,^i]OLO^ , ■J' seoAcA/^ ^ specific Measures tT) %^\mu>4, FOfVCTiois / ( ^ CHARAC TER ■ rfux^ t^ DIVISION o^ R-r. ? RT UMIT In CeoMETHY , 0^ 5^>^ La/^^ -yvvOM K (Set. fA^ hfJ^ cri L u^Cl.c^) ■■ \vLiu til ototctij cfjjtw aA>w*v\^ii4 Li i*. tit ^fi-f^Ad C^J^uuM-,^- So fo-O Or^-Jv tSVAA^«V*-4 >v^ ^ T , . -^ V, Point of Graotty sejt'n^ iuMtbAtsJ.Ui(M ^ AnWrv ^t/^-uc i^j£«»>««» j'vAiixjvki. 4 tu'Rinci^ 4 Dominance. ^ it'i.Klt^t, t"avXj CcruAo^s flinaMtn tu-jsiM^^iL ifK^ (lyLtt i<«i£ ; lCJi*ivitfitoui.«.ia~4£i^.:l.. JuTtf J fc, t t^ t.>j>-«iL ()\ dt /^^ |>Ti%-v>ifAsi) life LESSON CHART XXX. METRE . (cuNTiNtei.) •novt PitiMxiluA. cwv t>i/tn.A«ivwa Law of TROPORTION ' I'M UrvuxU. rfa i£«/t,«A ynjimJit\,i ex- Sul- A stta. ox. divdojmwuA itCtlxi <1(^^inaJi^Jiwll. Suit pMMi<^ J^"*^^ '""^ "^ G RAD AT I ON At fuiat<*vvl fi Snw. CVwd OVvuvwiAvt^i» •J- iTfinwiZ^Si^^i^!!^ i^i!-''] W ifvl-V*^ t -1 Oinl/lCffw ■XIa w s,e«Av Uv.iL. QiwcJ; JUtoW^^ TvWt iyeiMi^VOw^ _,^ ^ ^-^ ut!^iatjrvi--i W:lfcAu*«j^ ACoWsifi^i. I {ita (McUxd. VWv urdL a. h M iffi\A^ M^ ^ iwd U.. tiJil- V>u(jii.1)a|t^t»4*4iaf{ llritSu Y"^ ieilu SJA aI- D^tL hjMrOid a}a»4 aiTcuJ. , TXv, Xo^oi ,vc . "^ *~ T" (V»\ci u,* iu. IJij (o) tW^ ^uri n(U ufoHilvtiffj Lmuw italwu < jyvKIAMJC^ rORCE ■ tEAT. PUtS/VTiON , IJ HhV l./>^T ION Cii^^^^ a^J. COynfUt^J) !TnTf\/\/ WW ' Isj.fi-f ^ :i5l^ - — ^-^-- ALTERNATJOM.-te. Lessons, rtuatv^jji- MEASURES t\S\^ Tior<£D V G j/ Vt^tfw i, ^A^t^fcwijvCs, Xct£*_^c-- . dv!~. '>K«*^"-Vjr iv«/^j -- - f — d U , rti»in-ut,vfui^ v,.P., v>,n^T>> Ldtixt-c- <:(jvv4<:< tnuw.^ V luyaijtvv Y^dixi-i •^ ^ — — ^ \(Mv« ■l cx.-it~ ^ ivvauAl^ r^ituiivi V>\(Mv!6 td^.v— - — . fuvi 7^ i£i(iv.Rcnv5.) riv«.uvu,b tiwA %1[ to funt-mcfv. (i Jul ( 7— (W-Wotli. p— ^i i /«- C(MtC(?iitu»vW Hoh/VvuTHM^ /^ . Oci ifvtw. '*vaui .^ cJiJiuk tiu »&U1H»»I_ • Jeclvvtual fy'ttuluAvti InlXuttM tvlvLs n |^, .fr^itt^ aa;^, LESSON CHART XXXV. COMPOSITIOW life Acu/C vurtUicLtlu o^wtoWi cliAmuW ,14- I j4- . h,.-W^.i.„ /v^Mi.ilMhMl '^. -c> V 2CA > Jd ;:rx[^ CoYYvJ^^l;WA&^^(}»al ^Mj^Y^ t>nUxKiU> OX ^jUlTyvJU (xJi Voa Ma! a wtu>UM to Covv>JA ^ So Ct/vJU . ^0»^^tW>■ ClMt^i 01^ Suil^ liU^^T^i g^^ ^-»fc^^^fc^^ ^'g'^^^ >U^=v^ ^ ^.-few^ ^^'^^^ ^^ste! ^S a^-^^^ta.^^ 3f: 2A 1 w >.*: i./':-:/.-i.--j LESSON CHART XXXVI. COMPOSITION (Ccrvvtvyvu-CcL) Ojisjwvfnx cvvui'vvu>u,XiWafea jjVovvvIm, coTvditMrYU oi t/m- •iLni^7>ec[ ,, lA iw a6? (V.xWte>Y /^ ^^'• m\ (1) ^^A^ Cs'i e^yoo-dr^ (5^ 8o4a^^ _L4i. ki: (n) (2) aa. JiiL ^U^d ^1^ 4^^ '\5 11) LESSON CHART XXXVIII. ■3W |0u): 1W c^rt,^ CKoA^ ^i^ s-^ e^*^ . MUSICAL PICTURES IN DUSr OF EIDO PHONE „t\]uS educolltrvv VECETABIE I LIFE. Y SeS^V STEMS 4cr*vut cy^M\i. o-vuflt 'wUiAx4>W<^ ^t vw\ljicrmtK O f THt BHigJ LESSON CHART XU. ,/«U^fUWufeJ,"^"N^,TV)R£'iST«\T \co' tveoW) (AVn n \£8^'H/\Ni>ivvcfKK'*-Uviv\l4 Her. E-arthu^ Stuwo. lAKn^ ti».-,t, ntJL.s (S/1 Cg>^AteteiwQti\i;LA. TROTeR-tlEs) ,t^mt 3tuu, Vw Wvtavvxa HEfcVtN bowk to EAP.TH vj<.'Ravs£Eawh Ulmual /UCiH* and. U£tMt^£ltt.(m.i OM. tm SC^j-uxm unJ^mmU iwTSJugi^L i.u«5 MECHANICAL RELATIONS ACRIEABU Sliir«CC Oltlincs 'Ccvumlffvv6 - ;lcr Vnxi ji Cumi. crl AiAMlaJ Launllii tfi/cUu-O M ^l^'^^i^ — ^ ~-y~ ■ Jf^lL. ■/ t^T^^nfLcAjX^axl iZY«i&M^ -HlJU^, '^T^t ifTfCtfT Ya&"fe-( cctfi-iix- i"t^^'/'"A'"^ "'■ • ■ L 0,11 ' —.--; - QVWwc fmovt/vnC/yvt ,j!MnMaitBV\. SuWivtititw, IkcffYtiIi SuonwW JTrt^iiWlM 4tiicKff»v V e^n^>KA4i4iY\'?k(wjia.. GooA.'Iic^Aqm, dxM-d tiVowv-"VVVtJtai CKaA-ouctu. tWcTAg^^ . LESSON CHART XLII. "itii vnodi Ao3tiA|arW| WAuji) cum iua/wni^Au^ttf |W w inM A-tiu. o^%TRuauU ,vs|:,JM>w TujyufU. a/uwWum fcrm iAt/c/tM."b&dteA.^c ul- L4.akrti>ui *^^ >vuu^ O-ffl. AA"mLA])lN LAMP- te (r}^wV-£.^KoU«rv Beauty , urLrai Saoitd}ntMA^Uajifi£ixiamtceo<}ui ^f;^^^ '-ywuL r.c^ LiNE.il ,SWfw1£ - '^- -' " -^^ ^ -» ■ -JJ ■ I pjiMncVvTWt ^clcJ^W gf^^ ^^ VacwM ^n^ w< (^CoH4J[jiA.V^'\ IvW^ ^>M»JiM?AiwAvUCXv.. Ul^fE,&m^J*.Ct,Sl^ SOLJJ>. ) PRACTICAL CONCLUSIONS. BEAUTY like TRUTH or GOODNESS, is an eternal Attribute of Divine and Universal SPIRIT, a condition of its feeling, a mode of its working, a result of its operation, as it moves fortli by Creative Intelligence, Original Plan, abstract but indestructible Formulae, and the agency of matter and motion, to final manifestation of Immortal PRINCIPLES, SENTIMENTS and MOTIVES. The human Spirit in all its phenomena being part of universal and harmonious Nature, must in its aesthetic impressions be subject to absolutely rational and demonstrable Law, and indeed in the sequence of its historic development and creations has been found so to be. To us, both divine and human ART is THE SPIRIT IN THE MATERIAL, and our Methods are therefore adapted to intelligent rational beings seeking the universal Spirit and Principles of Nature, universally visible, universally needed, and universally applicable to all men or material — the Universal Language of Forms, Structures, Functions, Forces, Textures, Lights, Colors, Combinations and Adaptations through which has been delivered the marvelous revelation of natural and human Art. Aesthetic Science is as absolute Science as Physics or Ethics, and as fully worthy of profound attention and application alike from its sublimity, attractiveness, and marvelous historical social and industrial results. At tlie close of this great century, with such light thrown upon all science by noble minds like Darwin, Spenser, Fiske, Clifford, Pestalozzi, Froebel, &c., we can systematize, better than ever. Natural investigation and Art Education. Recognizing in Nature a Duality expressible in terms not only of Eternity and Time, Space and Place, Static and Dynamic Force — but Repose and Action, Conservatism and Progress, Tradition and Inspiration, Humanity and Self; we strive to combine Mind and Matter, Idealism and Realism, Theory and Practice, " Artist " and Artisan." On sociologic and scientific grounds OUR IDEAL IS THE ARTIST-ARTISAN— a balanced temperament and development which harmonizes allied and co- essential truth. Without losing sight of respective roles, the Artist is made more broad and helpful by practical acquaintance with material, the Artisan more plastic and efficient by becoming more artistic and sensitive. On similar grounds, we welcome practically the benefit of interinfluence from opposite temperament and sex — woman's work growing stronger and more valuable, man's more refined and sensitive by contact. Best of all, Art is vastly improved and broadened by universality and comparison in which essential charms and limitations of special media are clearly distinguished and respected. Our Curriculum is:— promptly and clearly to show students those VITAL PRINCIPLES, ABSOLUTE LAWS, and GERMINAL ELEMENTS OF BEAUTY which underlie all good Art work. To carefully preserve, as with natural plants, the freshness of their Individuality, (without stunting by mechanical or artificial means), to help it unfold wholesomely, and cultivate wisely its Sentiment, Taste, Imagination, Artistic Judgment and Observation, as living springs from which its beautiful creations must arise. Commencing with consideration of those agreeable emotional and moral qualities involved in Good Sentiment, Taste, and refined Appreciation, we show that Art is the Expression of inner Life, Perception and Personality. It must have Character, Spirituality, Ideality, Poetry. It must evince Truth, Sincerity, Genuineness, Frankness, Virility, Energy rising sometimes to Sublimity. Yet will involve Care, Sobriety, Dignity, Simplicity, Restfulness, Delicacy, Refined Sensitiveness, Grace, Charm, Concordant Sentiments of Unity, Harmony, Propriety, Appropriateness, Fitness, Consistency of Parts, Conformity to Conditions, Congruity of Ideas and Purposes. It will avoid Setness, Pettyness, Baldness, will contain Suggestiveness and Promise implying Life, Growth, Change, Complexity, Mystery, Universality, Variety-in-Unity. It will arouse the faculties of IMAGINATION for Inspiration, Vision, Fertile Invention, Spontaneity and " Imprevu," Vivacity, Sparkle, Attractiveness, Buoyancy, bringing recreation and refreshment to the beholder, with gay Decorativeness, Picturesqueness, and even subtle Weirdness. It will draw on KNOWLEDGE and MEMORY for comprehensive grasp, a sense of Richness, Fullness, Completeness, Finish, conveying sustained and serene Pleasure. It will summon the INTELLECTUAL Faculties of Reason, Judgment and IVill ; demanding by the first Naturalness, Wholesomeness, Utility, Efficiency, Forethought, Plan, System; from the second Selection, Balance, Discretion, when and where only to imitate, or translate, or transmute or adapt — when and how far to Analyze, Specialize or Generalize, Idealize or Symbolize, and in Commerce to Geometrize, Conventionalize, and sometimes (for machinery) Mechanicalize. From the third, it will ask deliberate Initiative, Volition, Control, Temperance; for Accent, Emphasis, Dominance of some parts, Subordination, Limitation or Rejection of others. The Student will then be ready to recognize these Spiritual Faculties at work on the grand Scale of Nature, where Divine Power is giving Force and Motion to atoms. Repose and Action by Static and Dynamic Energy; Opposition and Contrasts of Tension as in Axes of Crystals and Gems, Rise and Fall, Undulation and Rhythm as in Waves of Water, Sound, Heat, Light, etc. ; To note the inevitable Art influence on eye and brain of suggested Tendency, Procession, Parallelism, Tangency, Revolution, Evolution, Expansion, Radiation, Dispersion; The Artistic effects of Straight, Oblique, Curved, Angular, Circular, Conic, Spiral or Radial with which Nature so cleverly counts as she selects and retains, from spring to spring, her exact Equations of number, magnitude and metre in every germ of flower, insect, bird or beast, adapting their forms, colors, functions and sentiments to primal standards and types, to purpose and place, with due regard to Scale, Ratio, Proportion, Symmetry (in form), Gradation, Cadence, and Caesura (in movement). The Student will thus grow to appreciate and discriminate the good in all Composition, the Cosmic Elements which give Beauty, the Vital Elements which give Character and Style, the Decorative Elements which add charm by Order, Sequence, Regularity, Equality and Repetition of Units, (whether of form, space, color, motion, &c.,) or devices of Reflection, Contrast, Alternation, Counterchange, Juncture, Overlapping, Interlacing, Linking, Cabeling, Strapping, Interpenetration, Fusion, &c. It is then proper time to observe the material and practical conditions by which Artistic conceptions are best realized. The congenial character of substances and textures, (whether crystaline or fibrous, rough or smooth, light or heavy, friable or tough, plastic, ductile, maleable, fusible, &c.,) their market properties (of rarity, costliness, permanence, &c.,) or optic properties (of brilliancy, purity, translucence, &c., or the reverse); their special technical processes, limitations, beauties and suggestive possibilities, among which last are included those visual methods for suggested relief on plane surfaces, of Orthographic Projection and Perspective by concentrating lines and diminishing of magnitudes, of light, of color, of contrast, of detail. The Hand should follow the Mind with daily practice from Points to Movements, to Lines, to Spaces, to Surfaces simple and translucent at first (wh<;re structure is visible) to more and more complex and opaque (where structure becomes hidden but Substance, Textures, Shades, Colors, and Characters become interesting). By Line Delineation and Thread Decoration through Lace and Loom Work; Then Surface Decoration in Stain Glass, Mosaic, Enameling, Porcelain Work and Wall Paper. Then Plastic Form in clay and wax modeling for low and high Relief, Ceramics, Tiles, Stamping, and Metal work; Jewel, Wood, Stone and Marble Carving ; to monumental Sculpture. Then Construction in Architecture and Cabinet Design ; .Colors and Textures in Costumes, Hangings, Interior Furnisliings, and Structure and Function in organic and living Forms. Then apparent Relief, — in Drawing and Shading by Pencil, Pen, Charcoal, Crayon, Water Colors, and Oils, from "still life" or "live model" (undraped or draped according to appropriateness), and to Engraving, Etching, Illustration, Landscape, Portraiture, Genre, History or Ideals. Thus Heart, Mind and Hand together led into a breadth and fulness of insiglit and experience, the student is prepared not only to enjoy and produce intelligently, but canvas without servility the products of other days, or enter competitively into the creative work of his own. It has become a safe pleasure and artistic profit to the cultivated student, to examine tile expressions in Nature and History of these Principles and Material Processes of Beauty, whether in static stratification of rocks, dynamic and rectilineal energies of crystals and minerals, curvilineal and spiral action in fishes and shells, complex and organic design and decoration in vegetable and animal form or function. Led by every sibylline leaf or flower, insect or bird, beast or man, and kindled by the Aladdin lamps of their Instinct or Inspiration, he may study all adaptations to sphere and purpose, and be invigorated, not weakened by their wonderful example, while he learns anew the sacred lesson that "God has not left himself without witness, the Invisible things of Him being clearly seen In the things He has made." By cultivating the Art Instinct broadly, wholesomely, organically, thoroughly, we make it individual, liberal, national, creative, and reveal to man that Beauty is as universal as its application is infinite and precious. It is undoubtedly due to the greater vitality of tliis " Cosmic Method," that such encouraging success has attended our Educational efforts. Applied for three years in one Institution, it rapidly raised the number of pupils from a handful to 400, gathered from every section of the country. Renewed under more favorable auspices in the present Institute for Artist-Artisans, it, in ten years, has secured the support of the Public, Press, and most prominent Art Firms and such crowds of grateful Students, that accommodations and departments have had to be doubled, while its graduates have won foremost situations and prizes outside. JOHN WARD STIMSON. N. B. — Those desiring this Book can obtain a copy (postage free) by remitting the publishing cost of $2.00 directly to MRS. JNO. IVARD STIMSON, care of Seminary, PLAINFIELD, NEIV JERSEY. Copyrighted by Jno. Ward Stimson, Jan'y, 1892 in the Office of the Librarian of Congress Washington, D. C, U. S. A. OPENING CONSIDERATIONS, ^^ni^'sitt WE enter our existence upon this planet, miraculous germs of spiritual life, containing wonderful instincts of discernment and affinity for The Central Source of Reason, Love, Delight, from which we sprang, and of which we become mysteriously the Expression. But while, naturally and normally, drawn to seek, and delight in, happiness, we are unconscious of its constituting conditions and the physical, mental and moral departments of life through which it plays. We are born alike, ignorant and innocent of Life's stupendous reach or circumscriptions ; and only learn, by experience, tradition, intuition or revelation, the splendor of our inheritance and the scope of our reciprocal obligations. Considered from the point of view of character and immortal happiness, as much as temporal delight, man's true victory in life is the discernment and application of those overruling Principles and Methods (alike physical, ethical and esthetical) which establish the health of his body, morals and constructive mind ; and provide both safe and salubrious growth and play for physical and spiritual powers together. The lower animals enjoy a health that comes from primitive instincts of obedience toward these natural laws. The higher animals below man, even add to this an intelligent delight in conscious mind (as where intelligent dogs love to comprehend and obey a master's purpose in gathering flocks or hunting game). In some of the more imaginative and constructive birds and beasts, there is, even, delight in Art and rudimentary Beauty (as where the " bower-bird " weaves for his love a bower promenade, and decorates it with pleasant shells or colored objects). But supremely, over all, the idealizing and emotional powers of man raise him above such fellow creatures, and place him among the Gods. And especially is this true of his spiritual faculty for perceiving and applying abstract Principles of Life, originally and constructively, as though in " the footsteps of God. " It is to these "higher faculties" of the soul of the reader, rather than to his lower imitative and animal faculties, that this book of Art Principles appeals. Philosophy has ever attempted to record the drift of those vital Principles that it perceived, though at times somewhat narrowly and intellectually " from the Head " alone, but at other times more broadly "from the Heart," and finally in "the Life " itself, and in the " Art of Life." Thus, as an intellectual Greek, Aristotle too closely confined it to the soul's power of perception and contemplation in his dictum " Philosophy is the science which considers Truth." As did the modern philosopher. Cousin, when adding to this the power of description and record, in "True Philosophy merely establishes and describes what IS." But Cicero had gone closer to the word's formation and spirit (philosophia) in adding more of the Affection for Good, in his words : " Philosophy, if rightly defined, is the Love of Wisdom." Which Voltaire strengthens by "The discovery of what is True, and the Practice of what is Good, are the most important objects of philosophy." Thus bringing forward both Mind and Heart to the Practice or Art of good and truthful living, even as Plutarch had in the words " Philosophy is the Art of living," and as Seneca had in " Philosophy is both the Law and Art of Life. It teaches what to Do^ in all cases." But now the sad fact remained that man does not always " do " what he " knows " to be Right, so that Shaftesbury adds : " It is not a Head merely, but a Heart and Resolution which constitute the true philosopher." And at last our own Thoreau defines it vitally, in Life Ltself, by the words : " Philosophy is so to love Wisdom as to Live according to its dictates." Thus we are finally driven to the query, What is Wisdom, that we must "perceive," "record," " love," " will," and " live " Her ? And to answer this best, we hearken to the mighty voice of Inspiration in the mouth of that greatest philosopher of all time. King Solomon of Israel. " Get Wisdom and Understanding I A crown of BEAUTY shall She deliver unto thee The LORD possessed Me (Wisdom) in the beginning of His Way before the Works of old. When He established the Heavens I was there. Then was I by Him as. A MASTER WORKMAN!" Thus we see that true philosophy is not only perception, record, love and resolution to live Truth and Goodness, but that Wisdom herself is The Spirit to understand The Way of the Lord, in such degree as to cooperate Constructively and tangibly in It, as A Master Workman, that we may be crowned eternally with The Crown of the Glory of God's Beauty transmitted through us. " If man has the eyes," says Plato, " to see True Beauty, he becomes The Friend of God and Immortal." So that indeed, true victory and true greatness, alike for one's life as that of others, is not the enhancement merely of our wonder and delight at The Divine Finger as it moves through time and space, carving its miracles of form or painting the splendor of its palette ; nor even the power or riches acquired thereby on earth ; but rather the permanent touch, the comprehension, sympathy and desire with which henceforth we live ?'« harmony with the Master Mind and join constructively in the works of the GREATEST ArTIST- ArTISAN. Now Philosophy conveniently subdivides her labors, so that while it is the aim of the science of physics to disclose those Principles and Laws of nature which conduce to man's physical well being and adaptation to environment, it is the science of ethics to reveal those that advance his moral growth and character. But it becomes the specific aim of the science of esthetics (or The Beautiful) to correlate all these and commend the marvelous celestial Methods and Principles of collective Harmony, by which God seems to move, in making His handiwork significant, poettc, glorious, upon the side of proportioned and balanced Beauty ; with the Spirit, Grace, Fascination, Charm, Inspiration and Poetic meaning, He evinces throughout the realm of Nature His "Workshop." In brief, and perhaps with bolder grasp, we should claim that Abstract and Absolute Beauty extends her mighty wing over fi'frj/ department of creative plan and constructive life (divine or human) in proportion as immortal and celestial Principles maintain their sway. And the sincere physicist will find Beauty as truly in the perfect adjustments and workings of physical forces, as the moralist will in the perfect character, or the musician and painter will in the nightingale, the lily, and the rose. It is a differ- ence in degree rather than in kind. Thus Tifo»yninoexclaims : " I but open my eyes, and Perfection, no more and no less, In the kind I imagined, full fronts me ; and God is seen God In the star, in the stone, in the flesh, in the soul, in the clod." And still another writer says : " We are surrounded by a shoreless and fenceless world of Beauty and Spirituality ; and Art (whether in color, stone, sound or words), is simply its translation, more or less imperfect, All Art is Expression. Poetry, Painting, Music, Architecture, are only so many beautiful Reads to The Most High. Successful workers in them must one and all possess what the Bible calls ' Open Vision.' He, of all persons, must be both seer and interpreter of that Spirit which lives behind things and life, and which gives them vitality, meaning and charm. Why do we delight in life with all her children ? Because one and all suggest that Presence back of things." " It is the Divinity Within that makes the Divinity Without," writes Washington Irving. The mighty Life, that breathes, lives, pulsates and compels behind and between the static dust of matter, and that uses matter as Its agent to convey Its mystic movements. Its beautiful meanings, does so by the Arrangements of the atoms of Earth, as a writer wouM express himself by arranging the atoms of lead or ink into letters. But we must learn His language. If we only recognize chaotic blots upon the page, we imply lack of mind or of meaning, of intellect or of intention. If we see the letters and words independently and correctly formed but ill arranged or unrelated, we imply perhaps a Mind but not an intelligent Thinker. Should we decipher a connected and intelligent thought, or even a profound and wonderful purpose, but unrelated to us individually, or unin- spiring to us practically, we would concede a noble author or (if in Nature) A Divine Creator. But when we find intelligent Order in connected and consistent Process, combined with splendor of Moral Purpose conveying Immortal Principles and Methods involving Wisdom, Love, Beauty and Poetic Inspiration related to every individual in the whole and to the whole in every individual p'art, then we worship "The Master Mind," The Universal Friend and Parent, The Mighty "Artist-Artisan." "There is a Beyond," writes the famous philologist Max Muller, "and he who has once caught a glance of It is like a man who has once gazed at the Sun, wherever he looks he sees its image ! Speak to him of finite things and he will tell you that the finite is impossible without the Infinite. Speak to him of death and he will call it birth. Speak to him of time and he will call it the shadow of eternity." This deepest underlying consciousness, inner Vision and inspiration has never been absent from the greatest seers, philosophers, poets, artists, however modified by personal or local imperfection and incom- pleteness. Indeed the Divine Spirit seems to work Itself out and color the pure whiteness of its own "Absolute" Perfection by the very "human" qualifications or material modifications through which It reveals Its purposes upon Earth. Humboldt writes : " Natural objects, even when making no claim to Beauty, excite the feelings and imagination. Nature pleases, attracts, delights, because it is Nature. We recognize in it Infinite Power." And the poet tJnerSoTl sensitively intimates this in the lines : " Let me go where I will I hear a sky-born Music still ! It sounds from all things old, It sounds from all things young ; From all that's fair — from all that's foul Peals out a cheerful Song ! It is not only in the rose, It is not only in the bird. Not only where the rainbow glows, Nor in the song of woman heard. But in the darkest, meanest things. There's alway, alway. Something Sings ! " They here recognize, not merely that " Immanence of Deity" — that omnipresence of The Great Spirit — of which the psalmist sings, when he says : "Though I take the wings of the morning And dwell in the uttermost parts — Thou art there ! " But something vaster and more mysterious still as conveying that steady Conquest — that ultimate Victory of The Great Spirit over the transitional phases which (imperfectly comprehended by men) seem "adverse," or situations so apparently imperfect and incomplete that "Absolute Beauty" is not yet exemplified thereby. Seen from an Archangel's point of view, a flying dragon, of pre-Adamite days, would still seem weirdly beautiful in its dramatic adaptations and personifications of primaeval conditions and forces ; and it is doubtless these biological influences, in oriental brain itself, which makes them still wring such decorative splendor out of such primitive agents, while to man advanced and humanized such types become obsolete. David had intimated this same thought in the continuation of the above stanza where he adds : " Though I make my bed in hell Behold Thou art there ? " Thus with humility and wonder combined with strange courage we dare to press on through the uplifting veil of mystery and glory which surrounds our little globe, knowing in some intuitive way, that the very blemish of the imperfect leaf but reveals the clearer the elements of perfection in the complete one (if only by contrast or opposition), and the repulsion we feel from ugliness becomes the measure of our affinity for The Beautiful. It IS intensely interesting, therefore, to note at the outset, how persistently and universally, in all departments of ennobled human life, this Immortal Presence and Its Principles loom in upon the Consciousness of the grandest characters and workers, as the wellspring ot their inspiration, their influence, and their power. The Roman Philosopher, Seneca, exclaims : " If any one gave you a few acres, or a house bright with marble, its roof beautifully painted with colors and gilding, you would call it no small benefit ! Can you deny the benefit of the boundless extent of Earth ? God has built for you a mansion that fears no fire, covered with a roof that variously glitters by day or night ; we have implanted in us The Seed of All the Ages — All the Arts ! And God our master leads forth our intellects from obscurity." The eminent Scientist Lubbock similarly writes : " The world we live in is a Fairy Land of exquisite Beauty ! Our very existence is a miracle in itself, yet few of us enjoy and none appreciate fully, the beauties and wonders which surround us. Nature loves those who love her, and richly will reward them with the best things of this world — bright and happy thoughts, contentment and peace of mind." The Poet Wordsworth, kindling to the same truth, says : " * * * Nature never did betray The heart that loved her — 'tis her privilege Through all the years of this our life, to lead From joy to joy : for she can so inform The mind that is within us, so impress With quietness of Beauty and so feed With lofty thoughts, that neither evil tongues, Rash judgments, nor the sneers of selfish men, Nor greetings where no kindness is, nor all The dreary intercourse of life Shall e'er prevail against us, nor disturb Our cheerful faith that all which we behold Is full of blessings. To ewevy form of being is assigned An Active Principle howsoe'er removed From sight and observation. It subsists In all things, in all natures, in the stars Of azure heaven, in. the pebbly stone. In moving waters and the invisible air ! Spirit that knows no isolated spot, No chasm, no solitude — from link to link It circulates The Soul of All the World." Goethe says : . " Nature is the living visible garment of God. There is no trifling with her. She is always true, grave, severe, always in the right. The faults and errors are ours. She defies incompetency, but reveals Her secrets to the competent, the truthful, the pure." . Juvanel exclaims : "Nature and wisdom always say the same thing;" which Gallileo echoes in the idea, " The laws of .nature are the thoughts of God ; " and Cowper clarifies by, "Nature is but a name, for an effect whose cause is God." Novalis, hearing the Universal Spirit tenderly singing, adds : " Nature is an ^Aeolian Harp, a musical instrument whose tones are the re-echo of higher strings within us." And Percival enthusiasti- cally cries: "The world is full of Poetry! The air is living with its Spirit! The waves dance to the music of its melodies and sparkle to its brightness." And Richter, more exquisitely still, insists : " There are so many tender and holy emotions flying about in the inward world, which like angels can never assume the body of an outward act, so many rich and lovely flowers spring up that bear no seed, that it is a happiness that Poetry was invented, which receives all these spirits, the perfume of all these flowers ! " Here we note that this sensitiveness of spiritual ear, this " open vision " is caught up and given the name of Poetry, by him whose art is Rhythm. But it runs synonomously through all the arts, for Fuller writes : " Poetry is music in words. Music is poetry in sound." Macaulay puts it : " Poetry is the art of doing by words what. the painter does by colors." Chapin seeing it in the sincerities of heart says . " Poetry is the utterance of deep and heartfelt Truth. The poet is very near the oracle." Along which conviction Joubert felt when he wrote : "You arrive at Truth through poetry, I arrive at Poetry through truth." And Plato when he adds : "Poetry comes nearer Truth than history ! " Totheunityof all these with the Good and the Beautiful, Coleridge evidently refers in his confession : " Poetry has been to me its own exceeding great reward. It has given me the habit of wishing to discover the Good and Beautiful in all that surrounds me." While Bailey adds to its comprehensiveness that spirit of sacred communion and inspiration that gives the final spark, the sacred flamma, which is the evidence of a Living Power : " Poetry is a thing of God! He made His prophets poets. The more we feel of Poesie the more we become like God in Love and Power." Thus we are driven with philosopher, poet, priest, musician, painter, sculptor, architect, and even with the humblest human heart — (for Andre claims " Every man that suffers is a poet ! Every tear a verse! Every heart a poem !") into the inner penetralia where Spirit Universal dwells, and recognize that out of a Central Sun there radiates a light whose rays and colors are variously baptized by man, but whose Inner Essence is ever One and harmonious ; portals to the same Celestial City ; facets of the same Celestial Diamond. It is when the soul becomes conscious of the harmonic nature of any thought, wish or act, with those that flame and burn at the Central Heart of The Un iver se, or when the mind grasps the symphonic prog- ress of these movements along the same vital and Spiritual Principle, guiding the whole ; or when the eye _ beholds their living presence in the perfection of any constructed forms, sounds, colors, &c. ; that the de- light experienced by sensitive and wholesome characters is given the name of Beauty. It is probable, also, that whatever sensitizes the soul on one side toward Beauty, may attune it so much the more delicately to its "voices" whispering upon another. And possible that it is passed as a benediction to families or races that receive its commission. Though even then a spi ri tual a ffinity seems predicated, and I believe it will be found more generally a transmission from spirit to s'pirit whenever responsive chords are touched and mystic connections are opened. Ruskin remarks : "There is no branch of human work whose constant laws have not a close analogy with those that govern every other mode of man's exertion. Exactly as we reduce to greater simplicity and surety any one group of these practical laws we find them passing analogy and becoming the actual expression of some ultimate nerve ov fibre of the mighty laws that govern the moral world. However inconsiderable the act, there is something m the well doing of it allied to the noblest forms of manly virtue. The Truth, Decision, Temperance, we regard as honorable conditions of spiritual being, have a derivative influence over the works of hand and action of intellect." In similar recognition of this underlying vital harmony, Lafcadio Hearn writes (on Greek sculpture): " The nudity which is divine, which is the abstract of Beauty Absolute gives the beholder a shock of astonishment and delight not unmixed with melancholy. The longer one looks, the more the wonder grows, since there appears qo line, whose beauty does not pass all remembrance. So the secret of such art, was long thought super natural, and in verytijuth, the sense of Beauty it communicates is more than human. It resembles the first shock of Love ! Plato explained the shock of Beauty as the soul's sudden half remem- brance of The World of Divine Ideas. The human ideal, expressed in such art, appeals surely to the experience of all that past enshrined in The Emotional Life." Haegel in his ^^^sthetik adds : " Art fulfils its highest mission when it has thus established itself with Religion and Philosophy in The One Circle common to All, and is merely a method of revealing The Godlike to man ; of giving • utterance to the deepest interests, the most comprehensive truths. In works of art, nations have deposited the most holy, richest, intensest of their ideas, and for the understanding of the philosophy and religion of a nation, art is mostly the only key we can attain." To this Max Miiller points out that " What we call Religion would never have sprung from fear alone. Religion is Trust, and that trust arose in the beginning from the impressions made on the mind and heart of man by The Order and Wisdom of Nature ; and particularly by thoSe regularly recurrent events, the return of the sun, the revival ot the moon, the order of seasons, the law of cause and effect, gradually discovered in all things and traced back, in the end, to A Cause of causes." "The ancient religions are symbols," says Crane, "of the Forces of Nature evolved from, perhaps some common type through endless modifications — a natural mythology common to all. Religion trans- formed becomes poetry. Heroic shapes personify psychical and moral forces ; lesser personalities are rolled into greater ; greater are lost in types ; events are generalized. The image of past experience of the race, upon the general mind, becomes generic like that ot visual impressions in the individual. It is the natural tendency of the human mind which gives figurative art its importance. Expression is the clay on which it works ; imagination is the creative force ; a sense of Beauty its controlling Power. In the nat- ural world we find constructive strength united with Beauty and fitness governed by adaptability to cir- cumstance. Structural necessities lend themselves naturally to Design a,nd are universally pleasing. Both in life and art, Beauty is not something accidental. It is an organic thing, having its own laws, its own logical causes and consequences. It is A Living Force, A Living Presence, and therefore ever varying in its forms, as we follow it down this stream ot time and mark its habitation from age to age. "The delight of Beauty, be it human or wild, of light, color, form or sound, is a common possession and necessity of life, as in the higher sense it must be, so long as the human has claim to be the higher animal. Certain birds and animals have been proved to be sensitive to certain colors and decorative effects, which sensibility is wrapped xip with the very fact of germination and continuity of life itself ; and this convinces us how far down and deeply rooted is this sense in Nature, which has been so highly special- ized in man. Cultivated or uncultivated, modified by centuries, influenced by modes of thought and con- ditions of life, it flowers anew ! Art is the language of this Universal Feeling." Finally, in arranging our conception and study of Beauty and its arts, within that " One Circle" of thought, which is symbolic of the soul's outlook on Life, we may summarize all the preceding by the tenet of Delsarte : "The object of Art is to crystalize Emotion into Thought and then fix it in Form," or, taking the finer simile of Christ, who always taught "by parables" {i.e., artistic symbols), Art is the miraculous trans- formation of the pure "water" of Truth into the warm "wine" of Love, or emotion, and making it play and sparkle through the varied facets of the crystal goblet of Grace. Inspiration and Charm, in which each Pentecostal beholder receives it through "his own language "and personality, but by the same Principles and Method of Eternal Beauty." The Divine iNature seems to possess Primordeal Attributes of Law, Love and Grace, which in the experience of life become Truth, Goodness and Beauty ; and in the cultures of man become Science, Religion and Art; and in the personal character become Good Judgment, Good Will and Good Taste — the practical virtues. It is these Relations, mainly, which it is our province to examine ; and the vital Principles and Methods by which they attain artistic Expression which we should teach. For this the book is specially written. " The ignorant," says Quintillian, "may enjoy Beauty, but the educated understand the Reason for the enjoyment," and (we might add) thereby secure the Light to enjoy it rightly, in harmony and sympathy of will with its creator. "What we understand by The Kingdom of God," says Giles, "are The Principles in their forms, modes of action and mutual relations, just as we speak of the mineral, vegetable and animal kingdoms. The vegetable kingdom is something more than the aggregate of all plants. It consists in The Principles, Laws and Forms of vegetable growth. So The Kingdom of God is not a mere collection of men and women, but comprises All the Elements of The Divine Nature." " A Principle thrown into a good mind," says Pascal, " fruits as a grain thrown into good soil. Every- thing is created and conducted by the same Master — the root, the branch, the fruit — The Principles, the Consequences." And Miiller closes the thought for us in these words : "We ought to know How we have come to be what we are that we may advance to higher attain- ment. Not to know what precedes is to care little for what succeeds. Life would be a chain of sand instead of An Electric Chain that makes our hearts tremble and vibrate with the most ancient thoughts of the past, as the most distant hopes of the future. We are what we are by the toil of intellectual ancestors. We know now there are Stages of Growth not determined by accidental environment only, but by Original Purpose, to be realized in the history of the human race as a Whole." T URNING therefore, now, to our symbolic Circle Chart, the necessity is evident for our locating The Spirit of Life, as the origin of volition and motion, at the Centre of the soul's horizon, and dividing the scope ot our vision into Three Main Segments, like the facets of a crystal prism. If only in pictorial outline, it is appropriate to recognize at the outset Three Main Relations of thought and experi- , ence which have primordially urged forward man in the progress of his civilization. As artists, we may prefer the third and last section as we prefer the fragrance of a blossom above its branch or root, but it is advantageous to sketch these lightly in as its "setting." The Kingdom of Art, like "the Kingdom of Heaven," of which it is a part, maybe symbolized by the same "grain of wheat that was planted" and grew ; " First, The Blade " (or constructional support). "Then, The Ear" (or maternal environing sheath). " Then, The Full Corn " (or glorious fruition of vital Food). God Himself, because He is an Artist, employs suggestive and symbolic methods. ' " Without para- bles (symbolic stories) Christ taughl not at all" declares Holy Writ. The veil of the Temple was indeed a symbol of his primal mysteries, which by His own inspirations and permission, time is gradually raising to reverential eyes. Had all been told at start, had all knowledge been final, that very finality might have stilled growth and dulled ambition. The mists of human limitation hide the mountain of God's glory but appropiately enhance thereby its splendor and spirituality. The Deity is a poet and artist throughout His work, and we must look for Him in the same spirit or we may not find Him (though " not tar from every one of us"). To the literalist and materialist fumbling with the mere atoms of the ink and recognizing no Mind behind. He comes with rod of confusion and perturbation. But to the loving child whose sensitive intuition reads between the lines the implications of the Fathers soul. He comes in Glory and Benediction! "All Nature," says Chapin, " is a vast Symbolism! Every material fact sheathes a spiritual truth." "Passions, seasons, senses," says Crane, "virtues, vices, life and death itself — all belong to Allegory, continually reappear in newer shapes, being by nature so protean no form may hold them." "Nature," says Emerson, " is too thin a screen. The Glory of The One breaks through everywhere " ! In the First Section of our Circle Chart we locate that Intuitive Region which belongs to the per- EVOLUTION IN ART. I Nature's Triune Manifestations. isT. Abstrac t Truth in Spiritual Ideals, Relations and Volitions. 2ND. Concrete Good in progressive, transitional, material Embodiments. 3RD. Eternal Beauty in Perfected Purposes and Revealed Vital Principles. 1st 2d 3d 4th Spirit of Nature SUBJECTS OF STUDV. AS (In which she ACTS.) Principles of Nature c " (By MANIFESTS.) Laws of Nature Methods of Nature ( LIMITS Her vEsthetic Action;^ EMPLOYS IN Her " " ) \ Originality. Individuality. Freshness-in-Faniiliarity. Simplicity-in-Complexity. Variety in Equipoise and Unity. Spirituality, Ideality, Poetry. Mystery, Suggest iven ess, Promise. Aspiration. Inspiration, Self-Revela- tion. Vitality, Knergy, Daring, Sublimity. Restfulness, Stability, Serenity, Self- Respect. Care, Temperance, Freedom- Wise. Patience, Endurance, Ruggedness, Discipline. Truth, Frankness, Openness. Scope, Universality, Generosity, Rich- ness. Fullness, Completeness, Finish. Taste, Refinement, Purity. Delicacy, Grace, Charm. Joy, Play, Sparkle, Brilliancy. Felicity, Facility, Fertility, Variety. Immortality, Goodwill, F'urthcrance. Sympathy, Beauty, Perfection. Pkr -ception. In-sight. Purpose, Forethought, Plan Arrange- ment. Conservation, Transmission, Progres- sion. Unity, Order, Regularity. Equality, Equipoise or Balance. Dominance, Subordination, Co-ordina- tion. Selection, Rejection, Control. Emphasis, Proportion, Symmetry. Gradation, Crescendo, Cadence. Hapnony, Co-operation, Accommoda- tion. Discretion. Propriety, Fitness. Consistency. Adaptation. Conformity. Flexibility. Congruity. Sensitiveness. Reasonableness, Naturalness, Whole- someness. Wisdom, Utility, Efficiency, Economy. Sincerity, Genuineness, Honesty. Clarity. Decision, Definiteness. Embellishment, Fascination. Fruition, Achievment. Sustained Pleasure. LIMITATION AND CONDITION Space, Length. Breadth. Thickness. Time. Sequence. Force- Im- Re- Knergy — Volition. Static. "Dynamic. Tendency — Action and Reaction. Pulsation — Rhythm. Motion- Opposition. Tension. Contrast. Competition. Equilibrium. Co-operation. Co-ordination Organization. Growth. Persistence. Reproduction. Reconstruct' n Directness. Angularity. Repetition, Continuity. Extension. Progression. Procession. Revolution. Evolution. Expansion. Dispersion. straight. Oblique. Rectangular. Parallel. Curved. Undulate. Circular. Cyliudric. Conic. Ovate. Elliptical. Parabolic, Hyperbolic. Spiral. Tangential. Radial, etc. f In-tegration. Transformation < Dis-integration. V Re-integration. FORMULA.— FOR M . St ructu re— Fu nctio n . System— Skill. Relation. — Scale-R &,tjo. Numeric. Quantitative. Metric, Geometric Distributive. Formal. Dynamic. Structural. Functional. Vital. Intellectual. Emotional. 5th Spirit of History. its limitations. methods and styles . Character . Repetition. Mechanicalizing. Parallelism. Conventionalizing. Series 1 Lineal. ( Plane. Literalizing. Individualizing. Reflection. Generalizing. Contrast. Symbolizing. Alternation. Idealizing. Counterchange. ( -scribing. Juncture. Trans- -j -lating. Overlapping. (. -muting. Interlacing. Linking, Looping. Cabeling. Strapping. Interpenetration. Fusion, etc Media. SUGGESTIVENESS. 6th ■ spirit of the Present. Its Limitations, Methods, Styles, Character. Media. Suggestiveness. 7th Spirit of Special Technical Media. Character. Limitations. Processes. Suggestiveness — Laws of LIGHT and COLOR. Limitations— OPTICA u. soiial consciousness of Individual Soul — at the origin of its spiritual, invisible, — yet rational and volitiorial Being where it is Otte wit/i its Father God. In the Second Section, of our Circle Chart, we find that Region of Natural Evolution by which terrestrial environment has been prepared by Spirit for Its self-expression through forms of life. In the Third Section of our Circle Chart we discover the Spirit in man unfolding, at the head of organic nature; and alone, at last, researching the records of Divine Advance, in Reverent Communion with The Creator, for the Spiritual Principles and Purposes directing the Progression. The First, is the realm of Ideal Relations, Abstract Truths and Primal Volitions which seem to be the Source of force itself. The Second, is the Concrete material embodiments and transitional phases of those volitions, termed natural phenomena about us. The Third is the Realm of Reflection, Discernment, Deduction, among the steadily uncovered plans and perfected purposes which reveal to us the Principles and Methods 0/ Beauty. " A true work of Art is a refiex of Divine Perfections " said Michael Angelo. We also give at this point, a full page plate of THE SUBJECTS FOR STUDY classified in the order of their importance, and of their intellectual relations, as a birds eye view of the mental field concerned; though for consistency with nature's sequences in growth of mind (individual and racial) we will try to unfold the theme logically "from roots to fruits." Man's earliest, as well as latest visions of " The Celestial City " of Truth, show us figuratively what Science now makes fact — "A Tree of Life" growing (organically developing) " in the midst of the Garden of God," and "A River of Life" flowing (by ro«/z'««2Xy of progress) from "The Throne " — the leaves or waves whereof are "for the healing of the nations." And this emblem of Order and natural " growth " in thought we will regard — according to St. Paul's Law that "That is not first which is spiritual, but natural ; then afterward that which is spiritual." " A mental elifloressence " (or flowering) says Crane " springs from life's rough way which in words, become figurative speech or rises to poetry, but in design become emblem and allegory." We also give each step or lesson in Compact Summary, or outline, with diagramatic helps and appro- priate illustrations, that student or teacher may hold the Unity of the theme conveniently in mind, and the harmony of the whole, while stimulated freely to fill in from his own reflection and experience, the inter- spaces of thought which are intentionally made suggestive and vital, rather than " set " or "final." Referring now to The First Third of our Circle Chart, where an index finger points our beginning, we recognize within man's self conscious spirit the first roots or foundations for constructing beauty and defining art as false or true. For the animals below him, in the presence of the same Nature, could not so discriminate. His primitive groping was doubtless long upon the same plane with them, in animal sensations of delight in outward Nature, for his primitive weapons and ornaments so indicate. But the idealistic and imaginative faculties, even then, show themselves early under way in novel combinations and forms, dis- crete selections of barbaric but harmonic colors and nature adaptations. The spiritual faculties which divided the lowest savage from the highest brute soon created and diffused through his art efforts a con- sciousness of Spiritual Cause dimly divined and rudely grotesqued of course, but sincerely worshiped in the detected Principles of Order and Repetition by rhythmic dance, mystic fetish, ornamental totems, etc., derived more or less directly from natural suggestions and demonstrations in recurring seasons, planetary phases or withdrawals, and the myriads of natural decorative motives. He made keen con- jectures into primal Type Forms, from which he must have suspected the familiar forms about him were derived, for he worshiped them as "Sacred," and incorporated them into his charms (veritable forecasts of coming Science). Then in time his military, domestic, and sacerdotalimplements became alive with artistic struggles to embody ideas of Proportion, Fitness, Adaptation, Harmony (both of design and color) stamped clearly with Originality and conscious Individuality controlled by Generalization. Good Archeo- logical Museums abound in examples of these brave and impressive efforts. However primitive our ancestors, we must not consider them less sensible or less " sensitive " merely because less "informed" than modern times. They seem to have frequently made up by integrity direct- ness and zeal of observation, for lack of art tradition ; and at last to have attained by simplicity and grandeur of style, some art expressions among primal forms, which are at once the sublimest and earliest among classic embodiments. On the plains of Nineveh, Egypt, and India, by stupendous pyramids, temples, rock- hewn corridors, and gigantic gods, they strove to portray their intuitions of Deity, as hifinite ! Eternal ! Sublime I Where do we find anything more weirdly original, artistic, and expressive of vast though slumbering power, than the mighty Sphinx ? Symbol of wisdom and patient strength, silently contemplative, controlled by Intelligence, peering through eternal Time across infinite space, and over the endless sands of life! Or has any conception of artist imagination and toil attained more overwhelming grandeur than the Three Awesome Pyramids themselves, that flank the sphinx, and look down from forty centuries upon the withering dynasties of Man ? Poised immovably upon massive Basal Squares and presenting to posterity the clear cut edges of an eternal Triangle, they seem to have been the symbol of an immortal " Trinity " they felt to be in " God." We find, too, in these early people, marvellous insight into the abstract Geometric Relations which are the roots of all form arf'generation, and the very soul of the wonderful Oriental ornament. We find amazing powers of Plan, construction, mechanical application of force to vast masses, for artistic effects of great dignity, and durability, approaching Nature herself in grandeur of style. When we behold the marvellously cut and superposed plinths and columns of Egypt and Chaldea, piled in imposing splendor upon the valley of Nile and Euphrates, or some graceful Greek temple crown- ing an Acropolis, we do not know which to admire most, the gems of genius in the brain of man, or the setting provided them by the brain of Nature. The human art has something in it of the primeval majesty we find in the natural art of mountain or " Enchanted Mesa." Says Ex-President Hill of Harvard: "Particles of matter take i^^rw in obedience to Force 2,Q.Wr\g according to Intellectual Law. Natural symmetry leads men first to investigate the Mathematical Law which it embodies, then the Mechanical Law which embodies it. Thus all the benefits of our race, from the discovery of the keys of physical science, were bestowed through suggestions of Geometric Thought, in outward creation." We shall see also that the consideration of Dynamics, or the mere tendencies and distributions of Force (whether " active " or " static," actual or only " implied "), become of highest importance in Esthetic effects, and these were early felt and utilized with impressive power. Every one is familiar with Nature's clever decorative suggestions of these in towering pines, combing breakers, flowing manes or tails of dashing steeds, bristling lions, etc. We have been delighted by brilliant Japanese designs caught from suggestions of running water drifting clouds hurtling rain and hail, eddying leaves and flying fowl. (See Charts XVII and XXXIV.) And when we come to graceful spans of springing bridges, groined arches, or climbing turrets of cathedral towers, seeming to scale heaven's gates, we recognize the artistic value of implied motion in giving esthetic charm. It is for this reason, that in drawing the human figure (as in Chart XXIV), it is of highest import- ance to express fully and freely the general motions and tendencies of the figure and its members before developing forms and details. Especially should we remark the highly significant Tendency of Organic growths to develop expansively " from Right, to Round, to Radiate " Relations, as in the unfolding of a closed hand, or the spreading of a fan. (See Chart XIV, a.) In the Second Third of The Circle Chart we have a vast realm (lately correlated by physical science) which we briefly and compactly suggest, merely, in diagramatic summary, but in the natural ascending order of life, that the practical art work of Nature may be seen to give the premonitions, to Brain, of Vital Principles, which it will reapply in human art. It is also explanatory of the delight experienced and imparted thereby when identical elements are readjusted to express those principles. It was this section of physical and biological creation, before the advent of man, that Moses may have seen in vision so long ago, when he exclaimed, "God saw everything that He had made, and behold it was very Good" — because man would first employ that term to cover the wise provisions for hi s physical well-being which that section displays. In it we are able to catch some glance (pictorially) of the Order and splendor of advancing Mind and Purpose, generating artistic Form, up from unstable volume and shape in gasses, to stable volume but unstable shape in liquids, up to stable volume and form in solid substances. Thence to the higher qualities imparted to substance by advanced mobilities and distributions, reflected through nobler biological forms and kingdoms of life — through mineral, vegetable, and animal relations and the refining functions of accretion, nutrition, locomotion, sensation, and reproduction, geologically recorded. Till fascinating Character and Individuality begin to appear in the beauties of Morphology and Natural History where crystals graduate unto glorious " gems " ; vegetation grows resplendent with perfecting fruit and flora ; and animal life mounts by steps of brain perfecting to loftier functions and utilities. Then finally we behold the form of man appear, condensing into greater splendor of harmonic adjustment the lightnes.s, grace, strength and elegance of all, preceding, and reigning over all with resplendent Reason, Reflection and Genius. Capable at last of reviewing the past, appreciating his Creator, and though a " little lower than the angels " crowned with the glory and honor of Reverence, Comprehension and Inspiration ! In the Third and Last Section of the Circle Chart we can note this "genius " in the soul of man (and even premonitions of it in his animal friends) modifying their own forms and the forms of their environment, voluntarily and constructively, to give expression to specific need and new individualities or ideals. We have witnessed the Art of The Creator, we then witness the art of the Creature. Mollusks unrolling and decorating their rainbowed shells; fishes, reptiles, insects, birds and beasts, taking specific style and character, expressive of the Three Prime Categories of Form, and giving unique style and significance to their nests, homes, etc. Then man the highest artist of them all, advances in intellectual and moral beauty through barbaric to civiilized states, both of association and art expresssion, strewing the highway of his Heavenward climb with the utensils, weapons, costumes, dwellings and religious symbols corresponding to the degree ot perception, inspiration and conceptive power attained. It is in this Realm we shall find Three Prime Relations of Will which seem to give intent and direction to Force, at the Origin of Life (see Charts XII and XXXVlll), appear steadily operative in giving specific style to Form — first in Three Main Categories and then in their combinations and derivatives. These Three Main characteristics become set, on higher and higher planes, into physical and racial Types — strongly marked and indicative of specific Trends (both mental and moral) which again set their stamp upon the thought, ideals, and historic functions of personal, family, and national life. become types of brain and temperament in Personality ; The practically Active The passively Amiable The impressionably Imaginative Where in family relation they become Dominant male " Fatherhood " Receptive female "Motherhood " Volatile expansive "Childhood'' And in social aggregation and evolution they give marked peculiarity to Northern, 1 Southern, ^ Civilizations, by racial and geographical expansion. Oriental The margins of influence will, of course, overlap and interlace by fusions, marriages, etc., but a central characteristic will prevail, and racial types remain marked, where subordinate branches blend. National Genius will reflect this degree of pure or composite derivation, in the characters and qualities of its energies typically forecast in the Relations of atoms at the start of life. Competitive Cooperative and Coordinative And social, religious and esthetic ideals will correspondingly vary with each step, that prepares our mind for the later amalgamations that modern unity and democracy is effecting. External forms forever change to internal necessities. Expanding commerce and closer interde- pendence creates a solidarity and "Brotherhood," adjusting its forms to ever higher and subtler propor- tions which portray in stupendous summary the outlines of Omnipotent Design. In the poetic lines of Emerson's wood notes : " If thou wouldst know the mystic song Chanted when the sphere was young — 'Tis the chronicle of Art ! . . . Onward and on The Eternal Pan Who layeth the world's incessant plan, Halteth never in one shape. But forever doth escape Like waves of flame into New Forms ! " The poetic figures of remote Hebraic tradition which hand down Three Great Race Migrations under patrionimic titles "Japhetic" to the Northern " islands of the Gentiles; " " Chamitic " " Southern "lands of Misraim," or Africa ; " Shemitic " " mountains of " the East," or India; will now grow intelligible in the light of modern data and comparison. We are obliged to recognize with President Hill that the very beginning of Form Reasoning is the "V/ intellectual perception that the motion of the humblest atom through space records Force and Volition. That every point thus becoming a line, or line becoming a plane, or planes composing into forms, register Intellect by their relations, and spiritual Intent by their functions. They are vitally "alive," from centre to circumference, and from the most primary to the most composite combination. But the astounding revelation grows upon us as we study Form, that highly significant and sugges- tive tendencies and trends in Force and Form (which we discover in earliest relations and primitive sym bols) are forever reappearing and reasserting themselves with marvelous pregnancy and persistency in the higher and higher concepts of human Art. Thus the gifted English decorator and poet, Walter Crane, very truly says : "Pattern in its simplest form, regarded in the abstract, is a series of modifications in the structure and correlation of Line. Man need look no further than sun and sea to find the genesis of Pattern. Nay, his own frame, as Vitruvius shows, comprises or is comprised in both Square and Circle. These may be said to divide the responsibility for the whole race of Pattern systems between them as a kind of Coelus and Terra. These are suggestive, too, of different characteristics of race, language and civilization. Broadly speaking, the Square, with its divided checquers, zigzags and diapers, might almost stand as a symbol of the ornaments of northern nations, associated as the former are with Scandinavian and Gothic pattern work. While The Circle, with its derived scrolls and spirals, seems figurative of the greater suppleness and sensitiveness to beauty of the southern. And it is to ancient Greece and Italy we must look for their most perfect types. Square and angular patterns strike us at once by their Emphasis and Rigid Logic, while circular and curvilinear types appeal to Rhythm and Grace." This groping of a true art instinct was bringing him directly to the great elements which we have tried to arrange and define somewhat more fully and systematically in this book — when '• sun and sea " will be found to be the children, not parents of the Square and Circle ; and vvhere also the Third Great Prime Relation and Type Form, The Star, will be located in its right connection, and given its full significance and resplendent Beauty. It was probably for this last Relation that Mr Crane was feeling in his concluding clause where he adds : " For Richness and Intricacy we must go —where perhaps Square and Circle came from — to the home of the Arabesque, /. e., to the East." Along similar intuitions Prof. Max Miiller must have been moving when he wrote on India : " As in nature there is a 'North and South,' so there may be two hemispheres in human nature, both worth developing ; the active, combative and political, on one side ; the passive, meditative and philo- sophical on the other. The Aryan, whom we knew as Greek, Roman, German, Celt, Slav, active and political in northern migrations, we find passive and meditative in India. A real natural growth, I h&lxQve, having hidden purpose and lesson. If I were to ask myself from what literature we, in Europe may draw that corrective which is most wanted to make our life more psrfect. comprehensive, universal more truly Human, a life not for this life, but a Transfigured Eternal Life, I should point to India." With similar point, Lafcadio Hearn writes : " The man of science cannot ignore the enormous suggestions of the new story the Heavens are telling! He finds himself compelled to regard the developments of what we call ' Mind ' as a general phase in the ripening of planetary life throughout the universe. The Oriental Mind has been better prepared than the Occidental to accept this tremendous revelation — not a wisdom that increaseth sorrow but a wisdom to quicken Faith. And I cannot but think that out of the certain Fvtttre Union of Western Knowledge with Eastern Thought there must proceed a later" (Faith) ''inheriting all the strength of science, yet spiritually able to recompense the seeker after Truth with the recompense foretold in The Diamond Cutter, 'They shall be endowed with the Highest Wonder.' " Which recalls the words of Coleridge : • " In wonder all philosophy began, in wonder it ends, and admiration fills the interspace ! But the first is the wonder of ignorance ; the last is the parent of Adoration ! " And so Prof. Austin Phelps may be guided by the same "Star" to a fuller day of Truth, in his words : " For the foundation of a life of joy in communion with God, we need more of the spirit of the Vision of Patmos. Our northern and occidental constitution often needs to be restrained from excess of phlegmatic wisdom. I think we must have something to learn from the impulsive working of The Southern and The Oriental minds. I must believe it was not without a wise forecast of world necessities and insight into Human Nature All Around that God ordained that the Bible, which contains our best models of sanctified culture, should be constructed in The East, where emotional natures can be broken up like the foundations of 'The Great Deep.' " To be more accurate and full in the comprehension of these three symbolic Race Trends and Missions — we should say that the competitive energies and severe practical logic, symbolized by the rectangular Square, have been most felt and developed by those Japhetic people which spread through northern Europe and are today characterized by cold, stern downrightness, business logic and intellectual science, as well as military energy and governmental grasp. But the more feminine and social civilization, with plastic and mobile temperament, qualified by " Heart " rather than " Head," and by religious rather than scientific genius, have rightly The Circle for symbol, and are more reflected through the great temple building branches of the Second (or "Chamitic") Race, which expanded so centrally over Messopotamia, Syria, Egypt andthe Mediterranean coasts, crossing and blending their margins of influence in Greece, Italy, Spain and southern France with Japhetic neigh- bors to the north — and by the competition of war and peace obtained a knowledge of each otfier's genius and advantages. While Eastward — over Persia, India and Asia, radiated the influence of the still more imaginative, volatile, metaphysical, poetic and artistic Third Race Type (•' the Shemitic "), whose symbol is " The Star," and from which the Abramitic (or Hebraic) Branch was ultimately led forth to estabish "Faith in The Oneness of God.'' By progressive stages of revelation and realization, this last Abramitic family seems destined to collect, correlate and compose " into One " the severed fragments of the faiths, missions and characteristic beauty of each brother race ; as well as to set in order their appropriate developments of Truth. For they found already growing to their north, the ethical culture and social character typified by The Square, .and idealized into sacred sagas of Odin, Thor and the Walhalla of militant heroes who among the very glories of Heaven must forever reassert (by death and resurrection in chivalric battle) the Beauty of Individual Rectitude, Truth, Courage, and Masculine Energy implied in The Square. Of these the race hero Siegfried must ever win his ideal love Brunehilda, and his ideal " Hero Heaven," against the crude and chaotic forces of untamed forests, dwarfed and cunning men, and the temptations of Gold, till Spirit rises dominant and purified "as though by fire !" On the other hand, to the south and southwest, throughout Egypt and its tributaries, etc., the Hebrews ^rm gd a vast and patiently prolonged civilization, where human intuition and reflection had recognized more clearly that side of Deity which The Circle might typify. Here God was not felt so strongly (as by the northerners), in His character of Judge and Warrior, but rather more in His conde- scending and self-sacrificing patience as Intermediator, where through long centuries (under the title of "Osirus," and the symbol of the patient "Ox") He is represented as stooping Himself to draw the burdened chariot of Humanity and put His own shoulder beneath the yoke, to teach submisssion to central Law. Its symbolic " horns " of power appear derived from the growing " Crescent " of the feminine moon, and the perimetre of the " Sacred Disk " (or Circle). Here Abram was to find this conception a harbinger and prototype of " The Messiah " to be born from his own seed (in the person of the coming "Christ "), when he journeyed from Padan Aram south- ward with Sarah, his "sister and wife." Here she was (symbolically) to be acquired by the Egyptian monarch and then returned to him unprofaned. And here Joseph and Moses, later, are mysteriously to be "subject unto " it till, in the fulness of time and destiny, the Christ-child Himself was to be conse- crated, that the prophesy of centuries might be fulfilled "out of Egypt have I called my son." For verily, here, long centuries of discipline had not only developed in the soul of man the ethical conception and character of enduring Patience, and subordination of all terrestial life to the hope of a celestial, but had cast this into sublime art symbols and resplendent tombs (far more elaborate than their earthly homes). And here in the providence of over-ruling Soul, Abram's race was to learn the great lesson of The Circle, that " Here have we no continuing city, but we seek one to come even an heavenly"; and " by patient continuing in well doing, to seek for glory, honor, immortality, eternal Life!" Lastly, in their own promised land of Canaan, and at the mystic Christmas tide of the Messiah's advent, they were to absorb the last and sublimest symbolic lesson of all — the lesson of "The Magi," the wisdom of " The East " and the sacred "Star" of Heaven! That the soul of Humanity muet also be guided in its sacred discovery and worship, by the deep and pure light of refined metaphysics, delicate deduction, subtle implications of planetary movement, the breathing of God's voice in the mulberry leaves, the divining of the inspiration of sensitive Spirit throughout All Nature I Herein they were to catch up the revelation of that Third Great ("Oriental") Trend of cosmic thought and experience, which had subordinated all existence (heavenly or earthly) unto God in a devout "Pantheism"; and by the "absorbtion" of all spirit finally "into Universal Brahm." Under the royal type of "Rama " it had also generated and fixed its " ideal hero " as that nobility of character which hides its very royalty, and sacrifices pride, position, power and wealth in humblest services toward suffering fellowmen. And, as it were, again we see divinely antetyped that sacred significant theme of " the Christ washing the disciples' feet." It was these three sublime ethical intuitions of Truth which had been forecast throughout all morphology, biology, and sociology in the advance of animal life and human conscience, that " Faithful Abram " and his children were to unify and crystalize — and which were to render their ethics so vital and pervasive by their revering : j ist, The Beauty of The Square — in Truth, Law and Judgment (under Moses), -J 2d, " " The Circle — in Love and Self-Submission (through Christ), j 3d, " " The Star — in Grace, Genius, Personal Inspiration , (by Pentacostal showers of The Divine Spirit, through that radiate dissemination of apostles, martyrs, saints, heroes of all ages, down to " The Latter Day " when it was promised that by a new outpouring from on high—" Your young men shall see visions, your old men shall dream dreams "). For to the end of life, each soul finds written within its being the absolute necessity of experiencing and re expressing (in right Proportion and Harmony to time, place, and service). The Three Foundation Elements (of Law, Love, and Grace), which seem inherent in the nature of Deity, as they are the primary Keys to the Constructive Relations of Form and to the significant character of Beauty. The old world was the scene, for ages, of the competitions and rivalries of these separated elements in racial evolution, while yet each segment was under the necessity, so to speak, of developing and assuming its own fractional truth and genius before comprehending and correlating with its brothers. But Christianity in its marvelous growth and example seems to have prepared a soil, in broad ethical Unity, for their ultimate amalgamation ; and by collateral agencies in crusades, missions, com- mercial association, etc., to have assured their commingling, as by the heroism of Columbus and zeal of religious colonization it outran destiny and opened a new world for their combined association. The northern (Japhetic) elements of The vSquare, by Norse, Teutonic, Saxton, and Celtic derivatives, were borne across to appropriate habitat and climate in North America. The southern, milder and more "Chamitic" derivatives of the Mediterranean coasts, were swept over into Central and Southern America. While across the Pacific and radiating through her myriad isles come the children of The Third Great (Oriental) Phase of civilization, pouring into The Golden Gate ! The circuit of the globe has been completed by the linking of its segments — each section bringing, to the commonweal of Human Brotherhood, the characteristic elements either of " Saxon sense with Teutonic stability"; or Latin "religious enthusiasm and sociability "; or Oriental " Imagination, Art, and Industrial skill "! While the freedom of thought, aspiration, and government in the new world, facilitates and necessitates the new cohesion ; reacts upon the old world by example, emulation and international exhibitions; and Providential interposition pushes the bands of conquest and commerce (as in the late annexations of Hawaii and Manilla) into a broad Unity which will perfect The Whole ! Prof. Fenellosa, writing of this juncture of America with the Orient, and ot the prospective alliance of the Great Republic with the best and most progressive spirit of the Orient, says : " Our lot is thrown in with the Eastern world, for good or ill, forever ! For this fusion is not only to be world wide hni final / Each absorbes the power and hope of a hemisphere. Such as we make it now it must remain ! This is man's final experiment !" It was "westward" from his oriental race that Abram started " in faith " at the " call of God " to go "not knowing whither," but a "child of promise." And westward ever, in the footsteps of his ethics, "the star of (highest) empire takes its way," till in the symbol of "the wandering Jew," the journey is nigh complete and the pilgrimage ended ! The Japanese poet would add : " Son, the world is full of Beauty ! There may be gardens more beautiful than these — but the fair- est of gardens is not in this world — it is in the Garden of Amida (God), in the Paradise of The West." These great historic evolutions have left art monuments of inestimable significance and value, all along their course, and have reflected their internal character and stages of growth through their external physiognomies and art environments, as truly as a mollusk does by its shell. (See Charts XXXVIII. and XXXIX.) Distinctions in nature, color, costume, taste and general being, still remain more or less indicative of primal type and temperamental difference. The " Northerner " being liable to develop more tall, bony, angular proportions and with more rigid costume lines and sombre colors, characteristic of a more stern, introverted, calculating, solemn (at times melancholy) temperament. Practical, scientific, militant, gov- ernmental, " square-shouldered," "long-headed," "far-sighted," "blue-eyed," worshiping " The Future," and given to the arts of war, mechanics, transportation, engineering, &c. The second, or " Southern " type, is more plastic, polite, tactful, diplomatic, social, genial, and of generous impulses (perhaps, of effeminate tendency), characterized by rounder forms, easier costume lines and warmer glow of skin and eyes. Given to the arts of religion, civil policy, society, amenity, diplomacy, display. And greatly cherishing the amiabilities of The Present. The third, or " Eastern " type, is lighter, more delicate and sensitive than all, more naturalistic and complex like Nature herself, more volatile, subtile, metaphysical, poetic, imaginative, artistic ; marvelously diverse and dexterous in tasteful industrial skill. Sunny, childlike, and rich in costume, color and move- ment, worshipful of Omnipresent Spirit, reverential of "The Past." While fourth and last, the remote (Abramitic) branch ot this great Family is divinely driven to the four corners of earth, to become at once the most diffusive and cohesive, the most cosmic yet the most tribal, the most broken yet the most absorbtive, adaptive and retentive, of all social organisms and nation- alties, to "gather into One All the Family of God." We ought here to note, that just as each wholesome Personality recognizes in itself a union of Dual Elements (spiritual and material), a side on which each soul is individually itself, yet another side on which it is the product of society, so each race has at times seemed conscious of its own race genius being somehow correlated to the others, by mutual and complementary necessities, which only time and civiliza- tion could make clear. They seemed subject to a first law of Competition (which should be sufficiently strenuous to preserve Individuality), yet drawn by time and world evolution into a cosmic Cooperation and Coordination, which should at last guarantee the larger whole. Nature was forever whispering the secret of her primordeal " Activity " and " Passivity," her " Patern- ity " and " Maternity," her " Irrittativeness " and '• Receptiveness," in day and night, seed time and harvest, summer and winter. They witnessed her acts and arts consummating this mystic marriage — and as well the arts of animal life below man. They soon conjured poetic figures, in mythological terms, to convey this perception of Divine Principle, and we have the symbolic rites of "Coelus and Terra," "Orpheus and Euridice," " Adonis and Cytherea," &c. In time they detect that human arts, in order to impress the brain as " Beautiful," must embody analogous Relations, in " closed " and " open " spaces, " quiet " elements con- trasting with "active" in the composition, shadows with lights, cool with warm colors, &c., creating rhythmic cadences and equilibriums in which life pulsation itself is based. The brain being so constituted as to require for its delight in Art, reechoes and revivals of what has given it pleasure (and existence itself) in Nature, i e., Conditions of Form, Feeling and Fancy akin to those of The Creator of Nature, and to the Principles and Methods involved in His taste and invention. Hence sprang a whole category of Arts, ranging up and down a scale like "Jacob's ladder," connecting Earth with Heaven, in various proportions of material or mental, terrestrial or celestial elements and utilities involved. Thus creating, so to speak, " minor " or " major " Arts ; i.e., those more materially utilitarian and technical, or those more phonetically expressive and spiritual, and there are those between these two extremes, where as at Bunyan's " House of The Kind Interpreter" man finds a middle " Beulah Land," where angel "sons of God" may again "wed the daughters of men" in a vital " Artist-Artisanship." Accordingly we mount by gradation, from arts like engineering, practical chemistry and navigation (where man is concerned to devise forms for transmitting force "with least resistance," rather than with "most taste"), up through the arts of agriculture, cooking, building, furniture, weaving, dressing and jewelry (where direct utility to the body, or beauty of mere material, associates with utility to spirit and demands on artistic feeling), up to those that make dominant the esthetic influence (such as Pure Ceramics, Higher Architecture, Dramatic Gesture and The Dance), to finally those generated solely for Expression of esthetic genius and principles (such as Floriculture, Decoration, Sculpture, Painting, Music, Poetry and Eloquence), until we reach the very art of Life Itself ! Among the strictly formal arts of Architecture, Sculpture and Painting (to which the term of "Art" is popularly confined,) we note the same Three Prime Characteristics (from primitive relations of force and form) reassert themselves ; Architecture being the most "squarely" rectangular, rigorous and struct- ural, employing hardy lines and materials of support. While sculpture grows more plastic in substance, motives and movements (the ceramic arts spi^ining upon the potter's wheel or Circle). But Painting becomes the greatest, lightest and most varied of all, its comprehensive range least embarrassed by mate- rial, and conveying not only optical presentations of its preceding sisters, but wholly ideal conceptions and situations the most elaborate and complex (after the symbol of the Star). We may close this chapter by remarking that in this last great art of Painting, and in that Italian nationality where hitherto it is most triumphant, there have appeared, historically, again Three Supreme Leaders of Genius personifying the same mysterious distinctions of primal tendency and inspiration, as well as bearing charteristic names in striking coincidence with the Three Archangel types of Revelation (i.e., " Michael," of militant offices ; " Raphael," of religious ; and " Gabriel," ot civil offices). These giant leaders were Michael Angelo, whose rigorous genius mounts preeminent for titanic energy, structural severity of form and grandure of lines (Moses, the "Law" giver, his typical carving, "The Last Judg- ment," his typical painting). Next, Raphael Sanzio, the gentle, amiable and "beloved disciple" of religious feeling and of the heart, feminine in type and temperament, and prolific in holy Madonnas curving their plastic forms over curvilineal canvases. Thirdly, Gabriel Rossetti, " poet-painter, of whom the critic Colvin says, " though born in the midst of the nineteenth century, he belonged by nature to the Middle Age, when color and life were most vivid and varied, and sense of supernatural agencies most alive." An Italian born out of his age and country to convey to our expanding Saxon civilization the lesson and inspiration of the Great Renaissance. By the creation of a new Art "Brotherhood" along vital h'nes and organic priciples he summoned the slumbering genius of a new evolution from the springs of national and personal resource, unto all the radiate intricacies and possibilities of modern poetry, beauty and industry, combined. In him not only Great Britain took her highest and purest art impulse out of her own Arthurian legends and poets (through the zeal of his strong young allies, Morris, Watts, Millais, Madoc Brown, Burne Jones, &c.), but he lit the torch of genius for the keenest and farthest sighted poet-artists and artist- artisans of America. His friend Hall Caine tells us that early in life Rossetti was deeply impressed by our Edgar Poe's literary picture in "The Raven," of an earthly soul seeking its heavenly counterpart. Thereupon Rossetti determined to write his own poem of "The Blessed Demozel" to portray the Heavenly Spirit looking downward for its terrestrial partner. In this symbolic sense, the two halves of a great thought (of ideal and material components), as well as two halves of our Saxon civilization, may be harmoniously com- bining to effect a great destiny, as esthetic as it is ethical and political. The old world poetry should bring forward a wealth of spiritual experience and inspiration, and the new world's energy, virility and resource must recast and reincorporate the The Best into millions of democratic realizations. Says one eminent critic : " Rossetti's reputation long stood high, yet few could explain the secret. Friends, disciples, admirers spoke of ' the master ' with reverent awe. It is impossible not to respect a man who, in these days of insincerity, believes in something heartily, continues to believe in it and himself all life l ong ! Perhaps more than respect is due the man who resolutely held aloof (from a world which fancies itself lawgiver to every man in or out of it), as did Gabriel Rossetti." Beautifully and tenderly Rossetti expounds the true ambition of modern life, as it should be, alike in art, religion or society. " Plainly to think even a little thought — to express it in natural words native to the speaker — to paint even an insignificant object as it essential ly is — to persevere in looking at Truth, and Nature." Is not this the "angel of civil things," the modern evangel of the simplest life of the humblest soul ? Jean Francois Millet, in France, had lived these truths mutely and pathetically in the farm of Fon- tainbleau. Gabriel Rossetti formulated the principles and transmitted them. The words of Burne Jones himself, speaking of his master, best summarizes for us this "Sacra Flamma": "One day Morris and I discovered that we were face to face with something new and wonderful ! It was the opening of the First Seal for each of us ! It was Rossetti the Poet who was so new and strange a painter, and the painter who wrote poetry with so rare and strange a note, who appealed to us the most. But we felt the Charm, the Originality, the novel Creative Spirit of each of these men (Rossetti, Millais, Hunt), and perhaps more than all The Spirit common to them all — in them, but yet beyond them — the wonderful, fresh, recreative SPIRIT OF A NEW DAY! " CONDENSATION. A summary of the thought of our book might here be appropriate, with a few of the old masters' illustrations, compacting the fuller lessons or professional steps that follow, since they apply univer- sally to all lives, intellects or activities. Law is the expression of Intelligence and Will. All Space is Alive with Law, i.e., with Spir- itual Life. As Man occupies part of space he is Part of Spirit, as he is part of matter. All Forms can be reduced to planes, planes to lines, and lines to Points. A line is correctly con- sidered as a Point in Motion, and a point enables us to Gauge and Measure the motion, according to Directions and Positions assumed, as a sort of fulcrum to Express Power (exactly as our pen point expresses our thought by its motion and its record of ink-atoms). Thus Universal Life is at once Reposeful and Active, ("Static" and "dynamic," and though what we term '• matter " may be in some way a passive form of vSpirit, and though No Atoms of Matter Touch, yet we know Spirit from Matter by Spirit's Power to Move Matter. Hence, all Nature is Spiritually Alive and all Natural Forms are Spiritual Poems, to be read by a Spiritual Key Alone. This we quickly see on crushing a rose to powder in our hand. We have then left, the same quantity of dust, but no "rose " ! The Rose was the spiritual properties between the dust atoms, expressed spiritually and appealing to our spirits, through the agency of the arranged atoms. Divine Intelligence had revealed His thought and feeling, to our thought and feeling, through the arranged Rela- tions of the rose particles (that man disarranged and so lost). Our intelligence, reason, volition, feeling must, in some mysterious way be part of Goo's, and the delight we feel in Beauty must be part of His delight in Beauty. Our disgust at ugliness must be part of His disgust at ugliness. The Principles that are manifested back of Beauty must be spiritually absorbed and reapplied by each soul, to put itself in harmony with that element in God, and to perfect its own har- mony and happiness, or to create a true social and individual life. Beaui Y is the manifestation of Perfect Law, according to appropriate conditions of time, place, circumstances, utility and wisdom in this adaptation of materials to ideals. The Divine thoughts, feelings and ideals are taking harmonic expression in nature and man. Those of man are taking more or less har- monic expression in art, according as man reechoes Divine Principles. The material elements are not so important as the spiritual. Michael Angelo was the same grand creative spirit when carving his statues, painting his frescoes, writing his poems, erecting his cathedral domes or Florentine fortifications. So God is as present a "Poet-Artist " in the relations which constitute the lily as the rose, the night- ingale as the bird of paradise. All forms in nature are alive with the Creator's ideals and full of useful, decorative or symbolic sig- nification. It would seem that by some vast symbolic significance the Three Great Type Relations of Force, in Competition, Cooperation and Coordination, have generated the Three Prime Forms, The Square, The Circle and The Star, from which all others are derived (as shown in Lesson XII. ). They are sig- nificant of energies and characteristics in The Divine Nature, and symbolic of moral qualities which we discover rooted in the best Human Nature, and which we designate as the Sense of ist. Right, Rectitude, and its resistive tx\^r%\&^ (in the square). 2d. Condescending Kindness and \\.& plastic energies (in the circle). 3d. Generosity and Inspiring Genius in the diffiisive energies (of the star). While each of these elements is held to central Harmony of Formal Expression (whether singly or together) by the Principles of Unity, Equilibrium, and Proportion. Indeed they seem but a numeric and formal advance of the Initiative and Creative Force, through the sequent changes of unfolding Ideal. Law, Love and Grace reign at the centre of the Universe ! They advance by "right lined" resist- ance, " curved line " condescension, and " radiate " generosity as the Divine Energy unfolds, in strict " Proportion and Balance and Harmony." All Natural forms express these phases, derivations and combina- tions, and gain style and individuality by special fitnesses to time and puropose. Human Arts receive and reflect these intuitions, and gain charm and vitality (or ugliness and decay) by their organic (or inorganic) adaptation of these fundamental relations to Structure, Form and Composition. Beauty is the sensation that the soul receives at perfect and harmonic adjustment of these, to any given time, place, purpose, and material. And all forms (natural or human) only convey this perfectly when truly organic — that is, "ptriecXXy ha.vmomc zvithin and ivithout — alike in the internal structure (we term "Scientific") and the ^;r/^r«rt/ fascination or attractiveness (we term "Artistic"), in reality, the w//^/^' is scientific and artistic together. The devout, loving and useful application of these elements and principles in serviceable union, for human amelioration or for divine adoration, is essential Religion, (far above pettiness of cant, creed or sect). In this grand sense " Laborare est Orare " — To labor is to pray. Toward this far-reaching intuition the ages steadily advance, and the unfoldings of race movement approach, leaving their several degrees of approximation for history and divine judgment. Our educational methods should take this vital lesson from Nature, and educate the souls of students in Essential Beauty (internally and externally correlated as the term " Artist-Artisan " implies), and associate Hand, Head, and Heart in a vital union. It should be both educational and practical — because the best education and the best " practicality " comes from this Organic Union of soul and body, of thought and deed, of Conception and of Execution, which is the tangible idea of God. We should not murder the souls of the young by dead and sterilizing methods or "copy book " sys-. tems, of external unintelligent mimicry that degrades them to monkeys instead of raising them to men. We should appeal to the God Spirit within each human soul, and fortify and develop it by the living and inspiring principles of Beauty, adapted to every material. Originality, Ideality, Order, Proportion, Balance, Harmony, &c., are parts of God's Spirit and applicable to all times, places and substances. Each age, nationality and individuality are to be reinspired, readjusted and restored by them, according to new needs, conditions and obligations. New opportunities are thereby utilized and new virilities begotten. All of which adds new interest, delight and value to human industry, expre:>sion and society, and prepares man better for eternity. Nature thereby becomes the '' friend of man " and full of wholesome delight and instruction according to first intentions as the " visible Studio of God." She stands ready to reveal, anew, to every age and soul, the Beauty of Design, the secrets of constructive growth, and the wise methods of adaptation to all matter. All materials may thus become eloquent of spiritual beauty (instead of ugliness.) And all industrial or social prosperity becomes enhanced by the happy correlation of Good Science, Good Religion and Good Art. Indeed the Beauty of all Form or Feeling becomes the harmonious adjustment and proportioned expression of these symbolic significances of Right, Round and Radiate Relations, according to fitness in Eternal Principles. A few brilliant and wonderful drawings of the greatest art masters, here inserted, will help to illustrate these truths. Thus Da Vinci shows how man's form when radiated STAR-like across the Square and Circle (in the measures of the finest Greek proportions) reveals the secret, that The Square is the basis of man's strength in reposeful rectitude but initial energy. The Circle is the basis of his second (or " female ") phase of transmitted energy in plastic action. The Square is energy crystalline and " static " ; the Circle is energy mobile and "dynamic." The Centrex)f the Square is at the centre of "male" generation. The centre of the Circle is at the navel, where the child's link to motherhood is severed, to be born a free and new soul. Thus every human form combines and harmonizes, in its being, the secret strength and beauty of Square, Circle and Star when the rectitudes of Truth are wedded to the plastic and receptive energies of Love, and born anew by Genius into the radiate brilliancy of diverse and organic applications, with Just Proportion of these elements. It was exactly so at Pentecost that the Holy Spirit showed to each man through his own language both the Motherhood of God's Nature in Love, and the Fatherhood of God's Nature in Truth and Law. Short of these "Perfect Proportions " there must ever be a sense of deficiency and ugliness a fact which throws light upon the apostolic injunction to attain " the stature of The Christ in whom dwelleth the Fullness" {t. e., Perfect Proportion) "of The Godhead, bodily." The God- head made Perfect Man — yet ever appropriately readapting divine Principles to any and every Wfw situa- tion of life, according as time purpose, place and utility requires. Next, Michael Angelo shows in " Fortune upon the Wheel " (or Female Beauty balanced wpon the Circle) the great principle of Equilibrium and Vital Symmetry so universally constant throughout nature, as "balancing" Life and Nature upon the dualism of Repose and Action, and qualifying the opposite sides and steps of man. He shows also that while mechanical drawing will do for subordinate mechanical forms, such as the Wheel, yet vital and organic drawitig must be applied to the higher organic forms . Thus Da Vinci's childhead shows him looking through the curls for the structural skull that first supports them. Raphael's soldier with the shield shows him searching through the shield, and defining carefully the human arm that supports it, and we can even see in the drawing of the " Father and Demoniac Child " (from the picture of " The Transfiguration ") the indication of the rear thigh seen through the front thigh of the father. Showing how carefully they followed the principle of Sequence in the order or stages oi procedure, develop- ing />(?;« zvithin outward and from behind forwards. They do not flatten forms nor mimic them blindly and externally, as do the wretched •• Blocking Systems " exploited in so many schools, but comprehend internally so as to interpret them solidly and organically, as several of the other drawings by Durer, Angelo, etc., well show. The Two Female Heads in opposition, by Poccacino, display not only the artistic principle of "Con- trast," but set off Beauty against ugliness, to show that though both heads are " alive " "organic " and "structurally" developed, yet the hag has violated Principles, which the maiden preserved, ?. ^., such, Order, Proportion, Balance, Harmonic arrangement, etc., as God established in His elements, intents, and processes to reveal to man the Immortal Principles of His Spirit. JOHN WARD STIMSON. HEAD OF A CHILD. From a Drawing, in the Louvre. By Leonardo. i (AA/t-*-'" — ^ iTX'*^ \i-^ U-^. «-•.' ■.« V V"'-'> >]1 ' "l X^t -, CtXfev^ tf V^i/wtX^i^ Ma/l^ < (rvu6«-c S /e^^ , feZ^ A - ~ "> ■? et.'t.^J^A , m,$.- 1 '^jdH i-t'ivAtl«' UNIVERSITY OF CALIFORNIA LIBRARY BERKELEY Return to desk from which borrowed. This book is DUE on the last date stamped below. E NOV 28 1947 OCT 20 m B MAY 22 1948 JUNi^-es-iPf.! ^^ f/^w'fi/cr ^^ JUN 141969 3 5 B JAN 7 351 Ri^CEIVGD • H REC'D LD EEacmocr 31 '78 l^i MAY 2 7 1961 J«f»MIJ «— »i^^^^^^^»-|^^ j^j^ 21-100m-9,'47(A5702sl6)476 imxml i D 1 m 1 1 1 1 N ^ 1 i 1 1 1 ^ i 1 m imxmi ^^^-^mkWi msm wwmr' J*/ H»r«ii ^f^r