The Crown of Wild Olive - John Ruskin (ereader with android .TXT) 📗

as we have seen, the tower on the bridge, Turner has determined that his system of curvature should have its origin in the top of this tower. The diagram Fig. 34. page 369, compared with Fig. 32. page 361, will show how this is done. One curve joins the two towers, and is continued by the back of the figure sitting on the bank into the piece of bent timber. This is a limiting curve of great importance, and Turner has drawn a considerable part of it with the edge of the timber very carefully, and then led the eye up to the sitting girl by some white spots and indications of a ledge in the bank; then the passage to the tops of the towers cannot be missed.

The next curve is begun and drawn carefully for half an inch of its course by the rudder; it is then taken up by the basket and the heads of the figures, and leads accurately to the tower angle. The gunwales of both the boats begin the next two curves, which meet in the same point; and all are centralised by the long reflection which continues the vertical lines.

Subordinated to this first system of curves there is another, begun by the small crossing bar of wood inserted in the angle behind the rudder; continued by the bottom of the bank on which the figure sits, interrupted forcibly beyond it,[255] but taken up again by the water-line leading to the bridge foot, and passing on in delicate shadows under the arches, not easily shown in so rude a diagram, towards the other extremity of the bridge. This is a most important curve, indicating that the force and sweep of the river have indeed been in old times under the large arches; while the antiquity of the bridge is told us by the long tongue of land, either of carted rubbish, or washed down by some minor stream, which has interrupted this curve, and is now used as a landing-place for the boats, and for embarkation of merchandise, of which some bales and bundles are laid in a heap, immediately beneath the great tower. A common composer would have put these bales to one side or the other, but Turner knows better; he uses them as a foundation for his tower, adding to its importance precisely as the sculptured base adorns a pillar; and he farther increases the aspect of its height by throwing the reflection of it far down in the nearer water. All the great composers have this same feeling about sustaining their vertical masses: you will constantly find Prout using the artifice most dexterously (see, for instance, the figure with the wheelbarrow under the great tower, in the sketch of St. Nicolas, at Prague, and the white group of figures under the tower in the sketch of Augsburg[256]); and Veronese, Titian, and Tintoret continually put their principal figures at bases of pillars. Turner found out their secret very early, the most prominent instance of his composition on this principle being the drawing of Turin from the Superga, in Hakewell's Italy.

I chose Fig. 20., already given to illustrate foliage drawing, chiefly because, being another instance of precisely the same arrangement, it will serve to convince you of its being intentional. There, the vertical, formed by the larger tree, is continued by the figure of the farmer, and that of one of the smaller trees by his stick. The lines of the interior mass of the bushes radiate, under the law of radiation, from a point behind the farmer's head; but their outline curves are carried on and repeated, under the law of continuity, by the curves of the dog and boy—by the way, note the remarkable instance in these of the use of darkest lines towards the light;—all more or less guiding the eye up to the right, in order to bring it finally to the Keep of Windsor, which is the central object of the picture, as the bridge tower is in the Coblentz. The wall on which the boy climbs answers the purpose of contrasting, both in direction and character, with these greater curves; thus corresponding as nearly as possible to the minor tongue of land in the Coblentz. This, however, introduces us to another law, which we must consider separately.

6. THE LAW OF CONTRAST.

Of course the character of everything is best manifested by Contrast. Rest can only be enjoyed after labour; sound, to be heard clearly, must rise out of silence; light is exhibited by darkness, darkness by light; and so on in all things. Now in art every colour has an opponent colour, which, if brought near it, will relieve it more completely than any other; so, also, every form and line may be made more striking to the eye by an opponent form or line near them; a curved line is set off by a straight one, a massy form by a slight one, and so on; and in all good work nearly double the value, which any given colour or form would have uncombined, is given to each by contrast.[257]

In this case again, however, a too manifest use of the artifice vulgarises a picture. Great painters do not commonly, or very visibly, admit violent contrast. They introduce it by stealth and with intermediate links of tender change; allowing, indeed, the opposition to tell upon the mind as a surprise, but not as a shock.[258]

Thus in the rock of Ehrenbreitstein, Fig. 35., the main current of the lines being downwards, in a convex swell, they are suddenly stopped at the lowest tower by a counter series of beds, directed nearly straight across them. This adverse force sets off and relieves the great curvature, but it is reconciled to it by a series of radiating lines below, which at first sympathize with the oblique bar, then gradually get steeper, till they meet and join in the fall of the great curve. No passage, however intentionally monotonous, is ever introduced by a good artist without some slight counter current of this kind; so much, indeed, do the great composers feel the necessity of it, that they will even do things purposely ill or unsatisfactorily, in order to give greater value to their well-doing in other places. In a skilful poet's versification the so-called bad or inferior lines are not inferior because he could not do them better, but because he feels that if all were equally weighty, there would be no real sense of weight anywhere; if all were equally melodious, the melody itself would be fatiguing; and he purposely introduces the labouring or discordant verse, that the full ring may be felt in his main sentence, and the finished sweetness in his chosen rhythm.[259] And continually in painting, inferior artists destroy their work by giving too much of all that they think is good, while the great painter gives just enough to be enjoyed, and passes to an opposite kind of enjoyment, or to an inferior state of enjoyment: he gives a passage of rich, involved, exquisitely wrought colour, then passes away into slight, and pale and simple colour; he paints for a minute or two with intense decision, then suddenly becomes, as the spectator thinks, slovenly; but he is not slovenly: you could not have taken any more decision from him just then; you have had as much as is good for you; he paints over a great space of his picture forms of the most rounded and melting tenderness, and suddenly, as you think by a freak, gives you a bit as jagged and sharp as a leafless blackthorn. Perhaps the most exquisite piece of subtle contrast in the world of painting is the arrow point, laid sharp against the white side and among the flowing hair of Correggio's Antiope. It is quite singular how very little contrast will sometimes serve to make an entire group of forms interesting which would otherwise have been valueless. There is a good deal of picturesque material, for instance, in this top of an old tower, Fig. 48., tiles and stones and sloping roof not disagreeably mingled; but all would have been unsatisfactory if there had not happened to be that iron ring on the inner wall, which by its vigorous black circular line precisely opposes all the square and angular characters of the battlements and roof. Draw the tower without the ring, and see what a difference it will make.