ARRANGEMENT AND ORDER.

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to which latter the principles of arrangement and order appear more peculiarly appropriate. Indeed, as in composition, from its almost necessary perplexity to some extent, there is greater danger of confusion than there is in simple delineation, so the principle here inculcated is even more essential than is perspicuity in delineation.

As in composition generally, so especially with regard to the principle now under consideration, nature affords at once the best example of the value, and the most complete illustration of the operation of the rule. And, indeed, the arrangement and order which nature exhibits in her various compositions, is another characteristic of her style, and is one which art cannot too closely imitate.

In some artistical compositions of each kind, the figures and images and metaphors, which are in themselves clear and striking, are so confused and jumbled together that the mind is considerably perplexed and bewildered by the description.

The arrangement and order observed in a composition in art should, however, be, not only perfect in themselves, but in strict accordance with nature. As seen in her they should neither be too uniformly regular on the one hand, nor present too great a series of strong contrasts on the other. Both these errors are alike extensive, not only from the displeasing effect which they produce, but more especially from their contrariety to nature.

On the other hand, while due order and perspicuity should ever be preserved in the arrangement of a composition, this should be the order and perspicuity of nature, and such as we see there observed, and not the formal order of a regiment of soldiers, of cattle at a fair, or of goods arranged for sale. Some artists nevertheless seem to regulate their compositions by principles analogous to those which direct the order of the latter. In poetry and in eloquence, the due arrangement of the subject with perspicuity and clearness is of the first importance, both as regards the ideas excited, and the metaphors introduced.

The above rule has, however, been to a certain extent departed from in some celebrated compositions, where confusion and disorder are expressly intended to be represented, as in

pictures and musical pieces describing battles and storms. The topic must be deemed to apologize for the mode of treating it. But the principles of composition should still be regarded even here, however much the nature of the composition may vary from ordinary subjects.

The perfection of composition in the representation of scenes of disorder and confusion, is indeed to describe the event in such a manner that the ideas suitable may be conveyed to the mind in the most forcible way, while at the same time the design and composition are, as a whole, kept under the most complete control. The very confusion thus attains its aim, and the very disorder produces the desired effect. If, on the other hand, the representation is clouded in obscurity, the result intended altogether fails. At the same time, although design exists, the appearance of it must be carefully and strictly concealed.

Nevertheless, the collection and amalgamation together, as it were, in a heap, and in some disorder and confusion, of a vast number of different ideas and images, altogether varying in their nature one from another, and many of them wild and uncouth and rude, has very often, and in particular instances, a great effect in rendering a description or representation striking and effective in its way. This appears to be the secret and the charm of some of Chaucer's pieces. Shakspeare and Milton also occasionally resort to this mode. Indeed, the very presence of disorder and confusion, if skilfully managed and kept in due subjection, sometimes contributes, more than anything, to give life and reality to the composition.

Illustrations of this are afforded in the account by Virgil of the storm at sea, which is quoted at length in the subsequent chapter; in the battle pieces of Homer and Milton, and in the descriptions by Chaucer of the forest and of crime,† as also in some musical compositions of this character. In pictorial composition also the same principle applies, of which illustrations may be seen in some of the designs of Salvator Rosa, and in numerous battle-pieces and storms. Both in poetry and in eloquence, however, the due order and arrangement of the composition are in general essential, and the rule is only to be de* Chapter X. Sect. 12. + Vide post, Sect. 8.

VARIATION OF FORMS.

parted from in extraordinary and special cases. But even then a degree of order should rule over and regulate the very disorder that is tolerated. Still less in architectural design can any extensive departure from the principle here inculcated be permitted, although a certain disorder, or rather irregularity and wildness, may in some cases, after the fashion of nature, be effectively introduced. The same rule is also applicable to acting and to costume. In the former the irregularity of passion, and in the latter the rudeness of nature, can occasionally be imitated and allowed. More especially is this the case in gardening, where an amount of wildness and confusion in some parts of the composition, but so that absolute disorder and displeasing effect are not thereby produced, adds considerably to its charms, as we see indeed sometimes effected in nature, which is ever the most correct guide in artistical composition.

III. The importance of variety, amounting even to contrast, in artistical efforts, so far as regards its generally pleasing effect upon the mind, independent of its power in contributing to the production of beauty, has already been alluded to while considering the principles of delineation. Variation of forms is, however, that which comes chiefly into consideration in artistical composition, although varieties of other kinds have also to be regarded. What variety is to delineation or design, variation of forms is to composition. Here, as in the other cases, the principle, although the same in itself, differs in the mode of its application. Variety relates only to the parts of one figure, variation to all the several figures and groups of figures in the composition.

In the due regulation of variety, nature is the surest, and the only infallible guide. By her we shall be taught not to be too sparing nor too lavish in the observance of this principle, which on the one hand leads to insipidity, on the other to distortion, while nature pursues the just medium between the two points.

The most perfect example of the variation of forms, and of colours also, is, moreover, afforded by nature, whether in the landscape scenes that she presents, or in the different shapes. of animals and vegetables, which vary one from another in every

possible way, but ever harmoniously, tastefully, and I may say artistically.

Thus, in accordance alike with the practice which we see pursued in nature, and the principles which have been laid down for our guide in art, a due degree of variation must be effected among the different figures and groups in a composition, so that not only they themselves be varied, but the variation itself should be also varied.

It is indeed worthy of observation that variety may be as formal, and regular, and constrained, as the want of it; like the variety of a marching regiment, or of a row of pillars.

In nature, however, variation is effected in the most perfect manner, and exists even with regard to those figures and objects which appear to be most uniform and regular in their arrangement, such as a flock of sheep, or a grove of trees, where each separate object when dispersed over a landscape, will be diversified in every possible mode as regards the composition of the whole group. Indeed, not only variety but contrast, as seen in nature, is constantly exhibited, and gives to it effect and vigour, in precisely the same way that it does to compositions in art. Thus age not only varies from, but contrasts with youth; the storm with the calm; darkness with light.

On the other hand, equal care should be taken not to make this variation either too excessive as regards its limits, or too formal as regards its manner. This indeed may result, as already observed, in the production of a variety which is itself unvaried, creating the very monotony, and in the most aggravated form, which it was intended to prevent, and presenting an effect at once highly displeasing, and thoroughly inartistical.

Forcible examples of this style are nevertheless afforded by some early works in painting and sculpture. But the most striking are those which the mode of laying out gardens in the middle of the last century presents to us. Connected with this subject, is the practice equally opposed to the true principles of art, of varying the composition by the introduction of figures or subjects which have in their nature no real relation to it.

DISPOSITION OF FIGURES.

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To a certain extent, variety of light and shade, and of colour, as well as of form, demands attention in artistical composition as much as in design. And as the aspect of objects, both architectural and natural, is considerably altered by the relative position in which and from which we view them, which changes their apparent form; so is it also as regards the variety of light and shade which at different times falls upon them, and which changes their visual or apparent character in a very essential manner, corresponding with such mutations. Indeed, with regard to architectural and also sculptural composition, a due attention to the proper regulation and proportionate distribution of light and shade, is even more essential than in composition in painting, inasmuch as variation of colour is, but to a very limited extent, available in the two former. In compositions in gardening and costume, it is also to be observed; and as regards the due apportionment of light and serious, of lively and grave passages, a principle closely analogous to it may be laid down with respect to compositions in poetry, eloquence, and music.

The introduction of Christian and pagan representations into the same composition, is a decided breach of taste in many great works of art; as, for instance, that of Charon in Michael Angelo's 'Last Judgment.' Such a conjunction is in every way inharmonious and unnatural. Beings of characters and qualities so different could never be supposed to come in contact, or even to exist together; and a jarring of ideas is produced by the incoherency of the representation. The very nature and principle of taste require that the various constituents of the same composition should be apt and suitable, and combine harmoniously together.

Although repetition should be avoided, yet reiteration often gives effect and vigour to a composition; and this, whether in the grouping of figures or the structure of sentences.

IV. As the principles of design, including those of delineation, have been considered as mainly and strictly applicable to single figures and individuals viewed by themselves independently; so, as already observed, those of composition may be deemed to relate generally and properly to figures in groups,