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A. S. HOWEU, AND J. A. DUBRAY [J. S. M. P. E.
B, we find that the center of interest is composed within a rectangle whose sides bear to each other the ratio 3 to 5.
Art has no age and we find that even at the very time when the world was emerging from the retrograding influence of the Dark Ages, the psychological influence of the horizontal sweep was recognized by the masters of the epoch, as is strikingly proven by the etching by Hans Burgmair, illustrated in Fig. 2. Here the artist has grouped his figures in as compact a group and in as limited space as the subject and his conception of it would permit; but through a remarkably fine arrangement of the lances which forces the eye to follow a natural horizontal sweep, he injected into its compo
FIG. 2.
An etching by Hans Burgmair which illustrates a natural horizontal sweep for the eye.
sition that intangible something which spells Space, Breath, Movement, Life.
These two examples have been chosen for their apparent contradiction between the nature of the subjects and their relation to a rectangular frame form. We could multiply these examples ad infinitum, but we should then lead our minds too far from our subject, Motion Pictures. It will be sufficient to remark that since, in life, motion usually takes place in a horizontal direction, our sense of vision is much more accustomed to a horizontal than to a vertical sweep.
Since motion pictures are a true representation of motion, it is essential to provide a sufficient and adequate horizontal breadth to the screen, image in order to approach more nearly the condition