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.The plate of Blake's No.XI, p.148[Transcribers Note: Plate XXXII], reproduced here, is also a good example.I have had it put sideways on so that you may see thatthe look of horror is not only in the subject but belongs to the particular music of line in the picture.The effect of the harshcontrasts in the lines is further added to by the harsh contrasts of tone: everywhere hard lights are brought up against hard darks.Harsh contrasts of tone produce much the same look of terror as harsh contrasts of line.Battle pictures are usually, when good, fullof these clashes of line and tone, and thrilling dramatic effects in which a touch of horror enters are usually founded on the sameprinciple.In the picture by Paolo Uccello in the National Gallery, reproduced on page 170 [Transcribers Note: Plate XXXIX], amilder edition of this effect is seen.The artist has been more interested in the pageantry of war and a desire to show off his newly-acquired knowledge of perspective, than anything very terrible.The contrasts of line are here but confined to the smaller parts, andthere are no contrasts of light and shade, chiaroscuro not being yet invented.However, it will be seen by the accompanyingdiagram how consistently the harsh contrasts of line were carried out in the planning of this picture.Notice the unconscioushumour of the foreshortened spears and figure carefully arranged on the ground to vanish to the recently discovered vanishingpoint.http://www.gutenberg.org/files/14264/14264-h/14264-h.htm (80 of 147)3/9/2006 11:03:42 PM The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.Diagram XVII.SHOWING THE CLASH OF LINES IN SYMPATHY WITH THE MARTIAL NATURE OF THIS SUBJECT.Plate XXXIX.BATTLE OF ST.EGIDIO.PAOLO UCCELLO (NATIONAL GALLERY)Illustrating the effect of jarring lines in composition.(See diagram on opposite page.)Photo Morelli172Lines radiating in smooth curves from a common centre are another form employed to give unity in pictorial design.The pointhttp://www.gutenberg.org/files/14264/14264-h/14264-h.htm (81 of 147)3/9/2006 11:03:42 PM The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.from which they radiate need not necessarily be within the picture, and is often considerably outside it.But the feeling that theywould meet if produced gives them a unity that brings them into harmonious relationship.There is also another point about radiating lines, and that is their power of setting up a relationship between lines otherwiseunrelated.Let us try and explain this.In Panel A, page 174 [Transcribers Note: Diagram XVIII], are drawn some lines at random,with the idea of their being as little related to each other as possible.In B, by the introduction of radiating lines in sympathy withthem, they have been brought into some sort of relationship.The line 1-2 has been selected as the dominating line, and anassortment of radiating ones drawn about it.Now, by drawing 7-8, we have set up a relationship between lines 3-4, 5-6, and 1-2,for this line radiates with all of them.Line 9-10 accentuates this relationship with 1-2.The others echo the same thing.It is thisechoing of lines through a composition that unites the different parts and gives unity to the whole.The crossing of lines at angles approaching the right angle is always harsh and somewhat discordant, useful when you want todraw attention dramatically to a particular spot, but to be avoided or covered up at other times.There is an ugly clash of crossinglines in our original scribble, and at C we have introduced a mass to cover this up, and also the angles made by line 3-4 as itcrosses the radiating lines above 1-2.With a small mass at 11 to make the balance right, you have a basis for a composition,Diagram C, not at all unpleasing in arrangement, although based on a group of discordant lines drawn at random, but brought intoharmony by means of sympathetic radiation.Plate XL.THE ASCENSION OF CHRIST.BY DOMINICO THEOTOCOPULI CALLED EL GRECO.Note the flame-like form and flow of the light masses, and the exalted feeling this conveys.Photo Andersonhttp://www.gutenberg.org/files/14264/14264-h/14264-h
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