f the craftsman is
allowed to mar the perfect symmetry of the whole. It may be colder, but
how perfect in sublimity! The balance here is on the side of unity
rather than variety.

The strength and sublimity of Norman architecture is due to the use of
circular curves in the arches, combined with straight lines and the use
of square forms in the ornaments--lines possessed of least variety.

All objects with which one associates the look of strength will be found
to have straight lines in their composition. The look of strength in a
strong man is due to the square lines of the contours, so different
from the rounded forms of a fat man. And everyone knows the look of
mental power a square forehead gives to a head and the look of physical
power expressed by a square jaw. The look of power in a rocky landscape
or range of hills is due to the same cause.

[Illustration: Plate XXXII.

When the Almighty was yet with me, when my children were about me.
(_Plate II, Blake's Job_)

With dreams upon my bed Thou scarest me, and affrightest me with
visions. (_Plate XI, Blake's Job_)

Printed the wrong way up in order to show that the look of horror
is not solely dependent on the things represented but belongs to
the rhythm, the pattern of the composition.

And my servant Job shall pray for you. (_Plate XVIII, Blake's Job_)

When the morning-stars sang together, and all the sons of God shouted
for joy. (_Plate XIV, Blake's Job_)]

[Sidenote: The Horizontal and the Vertical]

The horizontal and the vertical are two very important lines, the
horizontal being associated with calm and contemplation and the vertical
with a feeling of elevation. As was said above, their relation to the
sides of the composition to which they are parallel in rectangular
pictures is of great importance in uniting the subject to its bounding
lines and giving it a well-knit look, conveying a feeling of great
stability to a picture.

How impressive and suggestive of contemplation is the long line of the
horizon on a calm day at sea, or the long, horizontal line of a desert
plain! The lack of variety, with all the energy and vitality that
accompany it, gives one a sense of peace and rest, a touch of infinity
that no other lines can convey. The horizontal lines which the breeze
makes on still water, and which the sky often assumes at sunset, affect
us from the same harmonic cause.

The stone pine and the cypress are typical instances of