Cad 
THE ART OF DRAWING. 157 
The third force of a composition is space : first, that which is occupied by 
natural forms expressive of the idea the picture is to convey; and, second, 
that which is filled by the artist according to artistical rules, with graceful 
forms harmonizing the coloring and grouping of the picture as a whole. 
The former may be occupied by a single figure or by a group. Every single 
figure is determined with regard to its general action and expression as 
soon as it has been chosen as an element of the composition. In endeavyor- 
ing to give it truth to nature, the artist will at the same time secure its 
special individuality. In divesting it of all that is wanting in beauty or 
superfluous in its outward appearance, he imparts to it an ideal expression. 
The esthetical law of contrast in space has already been adverted to in the 
theory of drawing the human figure, and we have there given a few exam- 
ples showing the different positions required for corresponding limbs in 
order to produce a pleasant effect. We here add a few rules concerning 
the requisite contrast in space in compositions. If a part of an arm or 
leg appear fore-shortened the other part must appear in full. If an arm 
and its hand be extended, the latter must not have precisely the same direc- 
tion as the arm, but must assume a different position by a gentle flexion. . 
Fore-shortenings must also be contrasted among themselves; e. g. if the 
right upper arm be fore-shortened, the left thigh must be so too. It is self 
evident that circumstances require occasional deviations from these and 
similar rules, especially in positions and motions determined by actions. 
Rules of artistical practice, in general, must be applied with careful judgment 
and such modifications as are dictated by the nature of the special cases. 
An inconsiderate adoption and application of such general rules easily 
lead to stiff theatrical effects. A group is constituted by several single 
figures only by their approximation in space in such a manner that their 
limbs are in part intermingled, or that they at least exhibit contrasts of 
motion within a certain space, which originate in reciprocity of cause and 
effect. Of artistical general forms of single growps in compositions, the 
pyramidal has been most frequently employed. The nature of special actions 
requires, however, often a different form of group. In great compositions 
several groups are often combined into a larger unit in space. In this casea 
central figure or a central group is required to which the lateral groups 
should stand in the relation of contrasts to their unity. 
Relative to given spaces (walls of rooms, churches, halls, &c.) we observe 
that objects represented in them, whether scenes of nature or history, are 
not products of true art unless they attain the perfection and unity of a real 
architectural ornament. In the arrangement of such compositions attention 
must be paid, not only to the general form of the grand group of objects 
represented, but also to the general form of the remaining part of the space, 
and definite harmonious proportions must be given to these two divisions of 
the space. If the composition in itself be intended to be the principal 
source of effect, extremes of decorations in the space have to be care- 
fully avoided lest the substance of the object be sacrificed, and characters 
degraded to mere arabesques, in favor of a symmetry or an external har- 
mony flattering the eye. 
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