ELEMENTARY COMPLICATIONS OF STYLE
THE manner in which such physical facts as the great sustaining power of the organ, the extreme elasticity of the violin, and the rapid evanescence of tone of the lute and harpsichord and pianoforte affect style is very easily grasped. It is the same with all other kinds and branches of art. The qualities of the materials used in sculpture, in all kinds of metal work, in architecture, and even more subtly in all kinds of painting, serve as the primary bases of style in those ranges of artistic expression. The elementary groundwork of style in such respects seems so absurdly obvious as to make it almost tiresome to discuss it, were it not that the most obvious things are often overlooked and forgotten unless definitely formulated and emphasized. That they are often forgotten and ignored even by people who profess to be efficient contrivers of works of art is also obvious, as is the fact that people are easily beguiled into putting up with and even believing they admire a vast amount of grossly shallow and stupid commercial work which violates the simplest principles of honesty in style.