Within the realms of both literature and art, the classical style calls to mind a wide variety of dominant forms and themes. The predominant concept which accounts for the existence of many other classical attributes is the presence of order within a classical work. A strict adherence to specific structure epitomizes the balance praised during the classical era. Other prevalent features found within classical works include the idealization and elevation of distinctive and heroic individuals and events. The various pieces of art and literature categorized within the classical mode imitate ideal human action, an obvious attempt to surpass reality for perfection.

Excellent examples of pieces of art which embody a variety of classical ideals can be found within the Snite Museum of Art. Painted by the Italian painter Ciru Fern in 1685, The Expulsion of Hagar exhibits many such classical elements. The most recognizable of these elements is the subject matter -- a religious event of great significance. Abraham is releasing his concubine Hagar and her son Ishmael from his household, thereby establishing his own son Isaac as the bloodline for the Hebrew race. True to classical form, the depiction of this crucial incident occurs at the climax of action; Abraham, arm outstretched in motion, has dismissed Hagar at the exact moment depicted by the painting. The concubine's initial reaction is also captured by the painter at its most extreme degree, the confusion and anguish upon her face clearly depicted as a deeply penetrating emotion. Static poses are disregarded for a more realistic and insightful technique which suggests action and reaction, thereby leading the viewer to a deeper understanding of the subject itself, adding personality and realism. Presenting subjects who are not statues, but rather animate beings filled with emotion and activity is a definite trait which distinguishes the classical style from earlier artistic forms.

Another key component of Fern's painting concerns the concepts of identification and recognition. Even before reading the title of the piece it is apparent to any individual familiar with the Old Testament which scene is being depicted. Certain qualities and objects link figures to their characters and vice-versa. For instance, Abraham, is shown in a physically solid manner, signifying a position of strength and power, in this case the head of a household, but in reality the father of an entire nation of people. The staff he grips in his hand is also a testament to his status as a leader, this time represented in the form of an object. A final distinguishing characteristic of Abraham is his appearance as an old man, a literal representation originating from the biblical passage where it is written that "Sarah conceived and bore Abraham a son in his old age.. ."(Genesis 21:2) Hagar too is identified through various means; her expression, her vibrant blue dress, and the bundle she carries in her arms all mark her as the exiled mistress of Abraham. The young boy's confused and fearful glance toward his mother confirm that he is in fact Ishmael and not Isaac. Even Sarah, confined to the background of the piece, exhibits traits which reveal her identity-her slight smile distinguishes her, for she is the individual who insisted that Hagar be banished. She cannot help but relish the fact that her competition as mother of a new nation has been removed from contention.

A final point of classicism within this piece revolves around the order of form used in the depiction of this scene. The action taking place in the foreground is emphasized through a variety of means in order to bring focus upon itself as the proper subject. The first of these is the fact that the action is taking place in the foreground; all other details of the painting are trivialized by comparison to the two central figures. Sarah is left in the shadows of the background as Abraham and Hagar take center stage. The artist also designates these individuals by the bright colors he uses in their clothing and figures. For instance, the white hue of Hagar's complexion contrasts well with her bright blue garb, setting her apart from the rest of the painting. She and Abraham are also cast into the light by the painter's shadowing technique, which obscures what is less emphasized and focuses on the apex of the work. The light of day becomes a spotlight, formed by the shadows which darken the less pertinent areas and highlight the central subject of the piece.

Another painting within the Snite which exhibits excellent classical characteristics is The Adoration of the Shepherds, a piece done by the Italian painter Luca Giordano in the seventeenth century. As with the previous painting, this work depicts a very significant religious event elevated well beyond the commonplace -- the Nativity of Christ. The classical forms of literature which idealize characters and events are quite evident in this painting as well. All action centers around the Christ child and the Holy Family, designating them as deserving of a greater reverence and status by both the other characters of the piece and the artist himself Even the ethereal hosts are depicted bestowing honor and praise, anointing the subject with heavenly oil to raise him to a level beyond the common individual. This is a definite classical representation; instead of allowing Christ to be shown as the mere man he was, his position is elevated to that of a king, and he is idealized. The ideal character embodies strength, power, distinction from the people, and noble traits. These are the qualities attributed to kings and noble individuals, and thus the anointing of Christ by the angels is symbolic of his designation as king, although in reality it is a king of a different sort. The presence of halos also attributes distinction and idealization to the subjects deserving of it, again distinguishing the central figures from the lesser ones.

The Adoration of the Shepherds contains a deliberate structure which adheres to the classical form in its method. The artist attempts to illustrate perfection, and how better to do that than by using the perfect figure-the triangle. There are two distinct examples of this geometric idealism within the painting, one enclosing the other. The first, formed by the Virgin Mary and the shepherd with his hands folded, frames Christ in the center of the action, reaffirming his high status among the other individuals and automatically drawing the viewer's eyes to this central figure. The second triangle encloses the first, starting with the standing shepherd on the left, connecting to the angels and down the row of ethereal heads, ending with the shepherd whose head is turned away from the nativity and toward some young boys. It also is a tool which compels the viewer to focus on the Holy Family as the central point, enclosing them in perfection and thus reaffirming their possession of this quality. They are elevated, held up as an example of an ideal which should be strived for. Another technique which reemphasizes the distinction of the central figures is the manner in which lines, objects and colors evolve from a hazy jumble at the edges of the canvass and slowly progress in their definition, until finally at the center the picture is most distinct and vivid. This creates another sort of frame which again holds up the central figures as more significant than the other individuals encircling them, therefore reassuring they are rightfully receiving the homage which befits them.

Both of the paintings referred to in this composition showcase some of the essential components of classical form. Within each one, the subjects are heightened beyond the reality of their situation to depict an ideal event. Each is specifically ordered and balanced so as to emphasize the significance of what is taking place, as well as to further the idealization of the individual figures contained within the work. They are portrayals of rational actions which display balanced form and distinctive structure, thereby vaulting the scene beyond the commonplace. This is the crux of classicism -- creating an ideal image which is in essence the perfect reality.