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Example text
On the other hand," I have a feeling of balanced tensions precisely analogous to what I experience when I look at a vase. Structure is not a purely intellectual or perceptive affair; it is also motor and organic, and that means emotional. It is felt with the body as well as understood by the mind. I have used the case of symmetry to bring out this truth, but I might have used other types of unification, each of which has its unique feeling tone, as I shall show presently, after I have analyzed them.
In the representative arts, particularly painting and sculpture, the associated images are fused with the visual sensations which constitute the medium. I see the softness and sweet-odorousness of the painted rose petal, just as I see the real rose soft and sweet; I see the surface of the statue firm and shapely, just as I see the human body so. This is because the ideas of the things represented in painting and sculpture seem to be actually present in the visual sensations which they interpret; the flower and the man seem to be there before me.
There is, of course, a limit to this elaboration of the parts, set by the demands for unity and wholeness. The individuality of the elements must not be so great that we rest in them severally, caring little or nothing for their relations to one another and to the whole. The contribution of this principle is richness. Unity in variety gives wholeness; dominance, order; equilibrium, wealth, interest, vitality.