such a ready medium
for the expression of religious subjects. This atmosphere of
other-worldliness where the music of line and colour was uninterrupted
by any aggressive look of real things is a better convention for the
expression of such ideas and emotions.

[Illustration: Diagram XXVIII(1).

A, D, G]

[Illustration: Diagram XXVIII(2).

B, E, H]

[Illustration: Diagram XXVIII(3).

C, F, I]

In B and C the proportions of the third and the quarter are shown,
producing the same static effect as the half, although not so
completely.

At D, E, F the same number of lines and spots as we have at A, B, C have
been used, but varied as to size and position, so that they have no
obvious mechanical relationship. The result is an expression of much
more life and character.

At G, H, I more lines and spots have been added. At G they are
equidistant and dead from lack of variety, while at H and I they are
varied to a degree that prevents the eye grasping any obvious
relationship between them. They have consequently a look of liveliness
and life very different from A, B, C, or G. It will be observed that as
the amount of variety increases so does the life and liveliness of the
impression.

In these diagrams a certain static effect is kept up throughout, on
account of our lines being vertical and horizontal only, which lines, as
we saw in an earlier chapter, are the calmest we have. But despite this,
I think the added life due to the variety in the proportions is
sufficiently apparent in the diagrams to prove the point we wish to
make.

As a contrast to the infinite calm of Raphael's "Madonna," we have
reproduced Tintoretto's "Finding of the Body of St. Mark," in the Brera
Gallery, Milan. Here all is life and movement. The proportions are
infinitely varied, nowhere does the eye grasp any obvious mathematical
relationship. We have the same semi-circular arches as in the Raphael,
but not symmetrically placed, and their lines everywhere varied, and
their calm effect destroyed by the flickering lights playing about them.
Note the great emphasis given to the outstretched hand of the powerful
figure of the Apostle on the left by the lines of the architecture and
the line of arm of the kneeling figure in the centre of the picture
converging on this hand and leading the eye immediately to it. There is
here no static symmetry, all is energy and force. Starting with this
arresting arm, the eye is led down the majestic figure o