lines. Let D represent a row of
pine trees in a wide plain. Such lines convey a sense of exaltation and
infinite calm. Now if some foliage is introduced, as at E, giving a
swinging line, and if this swinging line is carried on by a
corresponding one in the sky, we have introduced some life and variety.
If we entirely destroy the vertical feeling and bend our trees, as at F,
the expression of much energy will be the result, and a feeling of the
stress and struggle of the elements introduced where there was perfect
calm.

It is the aloofness of straight lines from all the fuss and flurry of
variety that gives them this calm, infinite expression. And their value
as a steadying influence among the more exuberant forms of a composition
is very great. The Venetians knew this and made great use of straight
lines among the richer forms they so delighted in.

It is interesting to note how Giorgione in his "Fete Champetre" of the
Louvre (see illustration, page 151 [Transcribers Note: Plate XXXIII]),
went out of his way to get a straight line to steady his picture and
contrast with the curves. Not wanting it in the landscape, he has boldly
made the contour of the seated female conform to a rigid straight line,
accentuated still further by the flute in her hand. If it were not for
this and other straight lines in the picture, and a certain squareness
of drawing in the draperies, the richness of the trees in the
background, the full forms of the flesh and drapery would be too much,
and the effect become sickly, if not positively sweet. Van Dyck, also,
used to go out of his way to introduce a hard straight line near the
head in his portraits for the same reason, often ending abruptly,
without any apparent reason, a dark background in a hard line, and
showing a distant landscape beyond in order to get a light mass to
accentuate the straight line.

[Illustration: Diagram X.

ILLUSTRATING, A, CALM RHYTHMIC INFLUENCE OF HORIZONTAL LINES SUCH AS A
SUNSET OVER THE SEA MIGHT GIVE; B, INTRODUCTION OF LINES CONVEYING SOME
ENERGY; C, SHOWING DESTRUCTION OF REPOSE BY FURTHER CURVING OF LINES.
THE CALM EVENING HAS BECOME A WINDY ONE.]

[Illustration: Diagram XI.

ILLUSTRATING, D, RHYTHMIC INFLUENCE OF VERTICAL LINES; E, THE
INTRODUCTION OF SOME VARIETY; F, THE DESTRUCTION OF THE VERTICAL AND
CONSEQUENT LOSS OF REPOSE.]

The rich modelling and swinging lines of the "Bacchus and Ariadne" of
Titian in the National Gallery, here reproduced