22.S 



Cincinnati Society of Natural History. 



acute or right angular shape. When the storm rules supreme, 

 the smooth and shining surface of the waters is changed into 

 angular waves ; the giant trees, the saplings, the weeds, the 

 vines, and the grasses, all bend their heads and assume the 

 acute angles of action. Nature in all her phases, passive or 

 active, in whatever mood we may see her, always represents 

 one grand unbroken harmony. 



I take this young man as a model, in order to give you an 

 illustration of the very forcible meaning of angles. 



This attitude is supposed to represent a beggar. There is a 

 total absence of right or acute angles. In no part of this 

 figure can you find a line that suggests action. The extended 

 arm forms an obtuse angle. The balance of his body is one 

 continuation of curves or passive forms. 



(Model now assumes attitude of pugilist.) 



Here we have the opposite — strength, aggression, force, 

 action. From head to foot every part of the body has as- 

 sumed the acute, or right angles. Nature is always in com- 

 plete harmony ; there is no part of this figure passive. In 

 examining the smaller details, let us look at the hands, and 

 we find that each separate joint of the fingers forms a right 

 angle. You may put this closed hand in a sling, and yet it 

 will fight. You can not change, its meaning until you change 

 its lines, its angles of action. 



Let us see how these facts are observed in all art works. 



In Millet's " Angelus " the first thing that strikes us is the 

 mass of horizontal forms and lines ; the furrows of the plowed 

 field, the wheel barrow, the clonds, are all made to serve the 

 purpose of suggesting repose, peace. The figures standing, 

 two vertical lines, suggest dignity. Had these peasants been 

 seated, how weak, how indifferent their devotion ! Had these 

 people been on their bended knees, how physical, how com- 

 mon-place would have been their prayer ! 



In contrast to the "Angelus," let us take up a war picture 

 — "Defense of the Gate of Longboyan," by De Neuville. 

 Here, the place selected for the action, not a horizontal pla- 

 teau, but a sloping hillside. The road that leads up to the 

 gate runs at an angle of forty-five degrees ; the artillery go- 

 ing into action, forms an angle a little less acute, and makes 

 a very aggressive angle with the road ; the stone wall is 



