pinion one of the most sublime
expressions produced by nineteenth-century art, the irresistible power
and majesty of the slowly advancing figure of Death is largely due to
the right angle felt through the pose. Not getting it in the contour,
Watts has boldly introduced it by means of shading the farther arm and
insisting on the light upper edge of the outstretched arm and hand,
while losing somewhat the, outline of the head beyond. Note also the
look of power the insistence on square forms in the drapery gives this
figure. The expression is still further emphasised by the hard square
forms of the steps, and particularly by the strong horizontal line of
the first step so insisted on, at right angles to the vertical stand of
the figure; and also the upright lines of the doorway above. In contrast
with the awful sublimity of this figure of Death, how touching is the
expression of the little figure of Love, trying vainly to stop the
inevitable advance. And this expression is due to the curved lines on
which the action of the figure is hung, and the soft undulating forms of
its modelling. Whereas the figure of Death is all square lines and flat
crisp planes, the whole hanging on a dramatic right angle; this figure
is all subtle fullness both of contour and modelling melting one into
the other, the whole hung upon a rich full curve starting at the
standing foot of the advancing figure. And whereas the expression of
Death is supported and emphasised by the hard, square forms and texture
of the stone steps, the expression of Love is supported and emphasised
by the rounded forms and soft texture of the clustering roses. On this
contrast of line and form, so in sympathy with the profound sentiment
to which this picture owes its origin, the expressive power of this
composition will be found to depend.

[Illustration: Diagram XIII.

ILLUSTRATING SOME OF THE LINES ON WHICH THE RHYTHMIC POWER OF THIS
PICTURE DEPENDS.]

[Illustration: Plate XXXV.

LOVE AND DEATH. BY G.F. WATTS

A noble composition, founded on the power of the right angle in the
figure of Death, in contrast with the curved lines in the figure of
Love. (See diagram opposite.)

_Photo Hollyer_]

In the diagram accompanying the reproduction of this picture I have
tried to indicate in diagrammatical form some of the chief lines of its
anatomy.

In these diagrams of the anatomy of compositions the lines selected are
not always very obvious in the originals and ar