the trained eye. Good
coloring, then, does not mean brightness alone. It is the relationship,
the qualities and the suitableness of colors one to another, whether
they be in shadow, half-tint or light, that constitute good coloring.
Brilliant dresses and inharmonious ornaments strike the refined eye with
displeasure, the wearer is "loud" in her dress. Subdued colors relieved
here and there with a harmonious dash of brightness show correct taste.
So in pictures those that have the low or deep tones, that are rich and
harmonious, are the ones that are most appreciated by the experts, and
are the ones usually found to have been painted by the masters.
Nevertheless if high color combines richness and harmony it shows a fine
skill. Tone has to do with the quantity of color used in the painting,
and harmony with the qualities of colors. Tone and harmony must combine
to make perfect coloring.

_d. Composition._ If we study any great poem, drama or novel, one that
is constructed with a due regard for unity, we find there is one central
character or idea and that all other persons, all incidents, scenes and
all the little devices that go to give reality to the conception are
subordinated to the central person or idea. Unless this is done the
creation lacks unity and therefore lacks force, beauty and coherence.
The same facts hold true of a picture. Every good picture is so
arranged and drawn that the important idea is centralized and the parts
are unified and harmonized until the whole is single in its effect. This
is accomplished by what is called in the language of the painter,
"composition." Important things are recognized and lesser things
subordinated to give beauty, clearness and brilliancy to the central
idea. While these facts are most obvious in pictures that contain
figures, it is no less true in landscapes or other pictures which
contain no figures. For instance, a moonlight scene on the Hudson would
have as its central idea the beauty of the light on the water and the
mountains. To secure this the artist would keep down the lines of the
mountains, subordinate the details in the foreground and place as the
central idea in the picture the pale shimmering light from the moon
whether that body be itself visible or not. Oftentimes in looking at a
picture it is difficult to tell wherein its excellent composition lies,
but the absence of strength and unity is unerringly felt.

_e. Atmosphere and Perspective._ We are all f