may treat it simply. You will
control it by not considering any part as of any importance in itself,
but only as it helps the whole; and you may strengthen or weaken that
part as you need to. Don't cut the thing up too much. Let a half a
dozen objects count as one in the whole. Mass things, simplify the
masses, and make the elements of the masses hold as only parts of
those masses.

=Study placing= of things in different sizes relative to the size of
the canvas. Make sketches which take no note of anything but the
largest masses or the most important lines, and change them about till
they seem right; then break them up in the same way into their
details. Apply the _steps_ suggested for drawing to the study of
composition, searching for balance chiefly, or for some other quality
which is proper to composition.

=Line.=--Each of the main elements of composition can be used as a
problem of arrangement. You can study _composition_ in line, in mass,
or in color.

"The Golden Stairs," by Burne-Jones, is almost purely an arrangement
in _line_, and beautifully illustrates the use of this element as the
main aesthetic motive in a picture.

[Illustration]

Compare this composition in line with the "Descent from the Cross," in
which the _line_ is equally marked, but more complicated, and used in
connection with _mass_ to a much greater extent, and involved with
interrelations of chiaroscuro and color. Consider the effect which
each picture derives as a whole from this management of these
elements. The one emphasizing that of line, with the resultant of
rhythm and grace; the other balancing the elements, and so gaining
power and impressiveness.

[Illustration: =The Sower.= _Millet._
To show arrangement in mass and line, in which the mass gives weight
and dignity without weakening the emphasis of rhythm in the line.]

Often the whole composition should be a balancing of the elements, as
in this case. But the emphasizing of one element will always emphasize
the characteristics to which those elements tend as the main
characteristic of the picture.

Grace, rhythm, movement, come most naturally from arrangement chiefly
in _line_. If _mass_ comes into the picture, the masses may be
arranged to help the _line_, or to modify it. In "The Sower" the
management of mass is such as to give great dignity, and almost
solemnity, to the picture, yet not to take away from the rhythmic
swing and action of the figure which comes from lin