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and others, that forms must be placed with consideration for their relation to those adjacent, in the matter of their bulk, color or direction of movement, if the picture as a conception was to achieve an architectural like structure. How we approached the plane of the early map makers for me too became well aware of our ignorance of the uncharted areas.

As a corallary it came into our consciousness that a picture might be assembled arbitrarily with a primary consideration of design that would be outside of time, place or momentary conditions. [[note]]Transitory values relegated here? Tie back?[[/note]] Furthermore we could refer back to our previous meeting with the works of Greco and find the principle applicable. [[note]]explain?[[/note]]

This revelation learned in Italy of the artists of the XIV and XV Centuries was