THEORT OF LANDSCAPE DESIGN ij 



If the emotional side of his esthetic perception is strong, the artist's 

 experience will be richer in association, because the emotions will stir 

 memories of previous emotions, and the kindred emotion so recalled 

 may recall with it the memory of an experience which, except for this, 

 is totally different. Thus, through similar emotional concomitant, 

 experiences in one realm of the senses may be, as it were, translated 

 into experiences in another. The harmonies of the symphony which 

 we now hear may be enriched by the glories of a remembered sunset. 

 It is this kind of association that makes us speak of a "loud" color, a 

 "smooth" sentence, or refer to architecture as "frozen music." * 



There are many percepts which are indissolubly bound up with 

 memories of muscular motion ; not only the percepts of distance and 

 height which first expressed themselves to the mind in terms of long 



where pure nature, though the fields be tilled, controls the expression, and thence by a 

 further step to the primitive lands where there is no trace of the hand of man. As he 

 departs from the realm of excessive culture, where the expression of the earth every- 

 where is controlled by the artificial, the need increases of an enlargement of the con- 

 ception by the understanding of how the natural forces have shaped the view. . . . 



" If, as seems likely, we can bring into definite shape, by educative means, the emo- 

 tions which lead to pleasure in the landscape, we shall thereby add another important 

 art to those which serve to dignify our lives. The art of seeing the landscape has a 

 certain advantage over all the others we have invented, in that the data it uses are 

 ever before those who are blessed with eyes. Outside of prison, a man is sure of the 

 sky — the largest, most varied, and in some regards the richest element of all scenes. 

 The earth about him may be defiled, but rarely in such measure that it will not yield 

 him good fruit. Every look abroad tempts him beyond himself into an enlarging 

 contact with nature. Not only are the opportunities for this art ever soliciting the 

 mind, but the practice of it demands no long and painful novitiate. There is much 

 satisfaction at the very beginning of the practice ; it grows with exercise, until it opens 

 the world as no other art can do." 



* " In point of strength, pitch, velocity, and rhythm, sounds present to the ear 

 a figure, bearing that degree of analogy to certain visual impressions which sensations 

 of various Icinds bear to one another. As there is, physiologically speaking, such a 

 thing as a vicarious function (up to a certain point), so may sense impressions, aestheti- 

 cally speaking, become vicarious also. There is a well-founded analogy between mo- 

 tion in space and motion in time, between the colour, texture, and size of an object and 

 the pitch, ' timbre,' and strength of a tone, and it is for this reason quite practicable to 

 paint an object musically." 



E. Hanslick, The Beautiful in Music, p. 53 of English translation of 1891. 



