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By Leo P Hirrel; Center of Military History

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These few have tried to establish principles for architecture, sculpture, and painting upon an intermediate ground partly in the objects and partly in our experience of them, by categorizing the types of organization we perceive in all works of art. One strategy requires enlarging the unit of historical happening. At the beginning of the century F. Wickhoff and A. Riegl moved in this direction when they replaced the earlier moralizing judgment of "degeneracy" that had been passed upon Late Roman art, with the hypothesis that one system or organization was being replaced by a new and different system of equal value.

S· Andre Malraux has appropriated the "Eliot effect" in several passages of The Voices of Silence (New York, 1954), pp. 67, 317, 367, where major artists are represented as altering their respective traditions retroactively by their own novel contributions. THE CLASSING OF THINGS divisive rather than synthetic. It discards any idea of regular cyclical happening on the pattern of "necessary" stylistic series by the biological metaphor of archaic, classic, and baroque stages. Sequence classing stresses the internal coherence of events, all while it shows the sporadic, unpredictable, and irregular natUl'e of their occurrence.

The shapes of time are the prey we want to capture. The time of history is too coarse and brief to be an evenly granular duration such as the physicists suppose for natural time; it is more like a sea occupied by innumerable forms of a fmite number of types. A net of another mesh is required, different from any now in use. The notion of style has no more mesh than wrapping paper or storage boxes. BQUENCBS 33 substance. Conventional histories of architecture, sculpture, painting, and the cognate crafts miss both the minute and main details of artistic activity.

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