the sublime
associated with the vertical in nature. Even a factory chimney rising
above a distant town, in spite of its unpleasant associations, is
impressive, not to speak of the beautiful spires of some of our Gothic
cathedrals, pointing upwards. How well Constable has used the vertical
sublimity of the spire of Salisbury Cathedral can be seen in his
picture, at the Victoria and Albert Museum, where he has contrasted it
with the gay tracery of an arch of elm trees. Gothic cathedrals
generally depend much on this vertical feeling of line for their
impressiveness.

The Romans knew the expressive power of the vertical when they set up a
lonely column as a monument to some great deed or person. And a sense of
this sublimity may be an unconscious explanation of the craze for
putting towers and obelisks on high places that one comes across in
different parts of the country, usually called someone's "folly."

In the accompanying diagrams, A, B, C and D, E, F, pages 152
[Transcribers Note: Diagram X] and 153 [Transcribers Note: Diagram XI],
are examples of the influence to be associated with the horizontal and
vertical lines. A is nothing but six straight lines drawn across a
rectangular shape, and yet I think they convey something of the
contemplative and peaceful sense given by a sunset over the sea on a
calm evening. And this is entirely due to the expressive power straight
lines possess, and the feelings they have the power to call up in the
mind. In B a little more incident and variety has been introduced, and
although there is a certain loss of calm, it is not yet enough to
destroy the impression. The line suggesting a figure is vertical and so
plays up to the same calm feeling as the horizontal lines. The circular
disc of the sun has the same static quality, being the curve most devoid
of variety. It is the lines of the clouds that give some excitement, but
they are only enough to suggest the dying energy of departing day.

Now let us but bend the figure in a slight curve, as at C, and destroy
its vertical direction, partly cover the disc of the sun so as to
destroy the complete circle, and all this is immediately altered, our
calm evening has become a windy one, our lines now being expressive
of some energy.

[Illustration: PLATE XXXIII.

FETE CHAMPETRE. GIORGIONI (LOUVRE)

Note the straight line introduced in seated female figure with flute to
counteract rich forms.]

To take a similar instance with vertical