-extensive with the variety of nature herself.

In seeking harmonious and expressive composition in the pictorial
direction the guides are much less definite and secure. Individual
feeling and instinct, which must have an important influence in all
kinds of designing, are in this direction paramount. Yet even here, if
we look beneath the apparent freedom and informality, we find certain
laws at work which seem to differ only in degree from the more definite
and constructive control of line which we have been considering. In the
first place, there are our direct impressions from nature; and,
secondly, our conscious aims and efforts to express an idea in our
minds. We have the same restricted and definite forms of language and
materials in each case--line, form, space, brushes, pencil, colour,
paper, canvas, or clay. We are taken by some particular scene: the
composition of line and form at a particular spot attracts us more than
another. We do not stop as a rule to ask why, since it usually takes all
our time and our best skill to get into shape what we are seeking--and
carry away with us an artistic record of the place. We have seen that in
the case of certain natural structures, shells, leaves, flowers, the
fundamental structural lines are so beautiful that they not only form
ornament in themselves, but furnish the basis for whole types and
families of ornament. When we look at a landscape, putting aside for the
moment all the surface charms of colour and effect, and concentrating
our attention upon its lines of structures, we shall find that it owes a
great part of its beauty to the harmonious relation of its leading
lines, or to certain pleasant contrasts, or a certain impressiveness of
form and mass, and at the same time we shall perceive that this linear
expression is inseparable from the sentiment or emotion suggested by
that particular scene.

A gentle southern landscape--undulating downs, and wandering
sheep-walks; the soft rounded masses of the sheep upon smooth cropped
turf--all these are so many notes or words in the language of line and
form which go to express the idea of pastoral life. They are
inextricably bound up with inseparable associations conveyed by such
lines and forms. The undulating lines of resting or dancing figures
would only give point, true emphasis, and variety, and a note of
contrast in the forms would serve to bring out the general sentiment
more strongly.

Substitute rugged rocks, sw