& Son, Sc. THE SOWER]

This is why the Sower in our picture takes his task so seriously. He
carries in his hand the key to prosperity. He is a true king. Peasant
though he is, he feels the dignity of his calling, and bears himself
royally. He advances with a long swinging stride, measuring his steps
rhythmically as if beating time to inaudible music. His right arm
moves to and fro, swinging from the shoulder as on a pivot, and
describing the arc of a circle.

The hilly field in which he works is such as the painter Millet was
familiar with in his peasant childhood in Normandy. A yoke of oxen are
drawing the plough in the distance, as is the custom in that province.
The Sower himself is a true Norman peasant.

It is interesting to trace the outlines of the composition. There
is first the long line on the Sower's right side, beginning at the
shoulder and following the outer edge of the right leg to the ground.
On the other side, curving to meet this, is a line which begins at the
top of the head, follows the left arm and the overhanging sack, and
is faintly continued by the tiny stream of seed which leaks from the
corner of the bag and falls near the Sower's foot. Crossing these
curves in the opposite direction are the lines of the right arm and
the left leg. Thus the figure is painted in strong simple outlines
such as we see in the statues by great sculptors.

The line defining the edge of the field against the sky, sloping in
the direction in which the Sower walks, adds to the impression of
motion which is so strongly suggested by the picture. As we look, we
almost expect to see the Sower reach the foot of the slope, and stride
out of sight, still flinging the grain as he goes.

There is another thing to note about the composition, and that is
the perfect proportion of the single figure to the canvas which it so
completely fills. This was the result of the painter's experiments.
In the haste of his first inspiration he did not allow space enough to
surround the Sower.[2] He then carefully traced the figure on a larger
canvas and made a second picture. Afterwards the same subject was
repeated in a Barbizon landscape.

Our American poet William Cullen Bryant has written a poem called
"The Song of the Sower," which is very suggestive in connection with
Millet's painting.[3] This is the way the song ends:--

"Brethren, the sower's task is done,
The seed is in its winter bed.
Now let the dark-brown mould be sp