RELATIONSHIPS - On Composition
This is the simplest law of ordinary ornamentation. Thus the group of two leaves [reference to illustration] is unsatisfactory, because it has no leading leaf; but that [illustration with three] is prettier, because it has a head or master leaf; and [another illustration with five] is more satisfactory still, because the subordination of the other members to this head leaf is made more manifest by their gradual loss of size as they fall back from it. Hence part of the pleasure we have in the Greek honeysuckle ornament, and such others.
194. Thus, also, good pictures have always one light larger and brighter than the other lights, or one figure more prominent than the other figures, or one mass of colour dominant over all the other masses; and in general you will find it much benefits your sketch if you manage that there shall be one light on the cottage wall, or one blue cloud in the sky, which may attract the eye as leading light, or leading gloom, above all others. But the observance of the rule is often so cunningly concealed by the great composers, that its force is hardly at first traceable; and you will generally find they are vulgar pictures in which the law is strikingly manifest. p>195. This may be simply illustrated by musical melody: for instance . . . . one note [here the upper G] rules the whole passage, and has the full energy of it concentrated in itself. Such passages, corresponding to completely subordinated compositions in painting, are apt to be wearisome if often repeated. But, in such a phrase as this [illustration of another musical score . . .] it is very difficult to say which is the principal note. The A in the last bar is slightly dominant, but there is a very equal current of power running through the whole; and such passages rarely weary. And this principle holds through vast scales of arrangement; so that in the grandest [p. 165] compositions, such as Paul Veronese's Marriage in Cana, or Raphael's Disputa, it is not easy to fix at once on the principal figure; and very commonly the figure which is really chief does not catch the eye at first, but is gradually felt to be more and more conspicuous as we gaze. . . .
196. As, in every good picture, nearly all laws of design are more or less exemplified, it will, on the whole, be an easier way of explaining them to analyse one composition thoroughly, than to give instances from various works. I shall therefore take one of Turner's simplest; which will allow us, so to speak, easily to decompose it, and illustrate each law by it as we proceed.
[The illustration] is a rude sketch of the arrangement of the whole subject; the old bridge over the Moselle at Coblentz, the town of Coblentz on the right, Ehrenbreitestein on the left.* The leading or master feature is, of course, the tower on the bridge. It is kept from being too principal by an important group on each side of it; the boats, on the right, and Ehrenbreitstein beyond. The boats are large in mass, and more forcible in colour, but they are broken into small divisions, while the tower is simple, and therefore it still leads. Ehrenbreitstein is noble in its mass, but so reduced by aërial perspective of colour that it cannot contend with the tower, which therefore holds the eye, and become the key of the picture. We shall see presently how the very objects which seem at first to contend with it for the mastery are made, occultly, to increase its preëminence.
* This drawing of Coblentz was in Ruskin's collection: see his Notes on his Drawings by Turner, No. 62 [VOl. XIII. p. 454.]
[Ruskin, John. The Elements of Drawing, Dover Publications, Inc., New York, 1971. On Composition, pp. 164-167. (Originally Published in London, 1857)]
The contents of this site, including all images and text, are for personal, educational, non-commercial use only. The contents of this site may not be reproduced in any form without proper reference to Text, Author, Publisher, and Date of Publication [and page #s when suitable].