ther and carrying the attention to the principal interests.

Two good instances of this arrangement are Botticelli's "Birth of Venus"
and the "Rape of Europa," by Paolo Veronese, reproduced on pages 166
[Transcribers Note: Diagram XV, Plate XXXVII] and 168 [Transcribers
Note: Diagram XVI, Plate XXXVIII]. The Venetian picture does not depend
so much on the clarity of its line basis as the Florentine. And it is
interesting to note how much nearer to the curves of the circle the
lines of Europa approach than do those of the Venus picture. Were the
same primitive treatment applied to the later work painted in the oil
medium as has been used by Botticelli in his tempera picture, the
robustness of the curves would have offended and been too gross for the
simple formula; whereas overlaid and hidden under such a rich abundance
of natural truth as it is in this gorgeous picture, we are too much
distracted and entertained by such wealth to have time to dwell on the
purity of the line arrangement at its base. And the rich fullness of
line arrangement, although rather excessive, seen detached, is in
keeping with the sumptuous luxuriance the Venetian loved so well to
express. But for pure line beauty the greater restraint of the curves in
Botticelli's picture is infinitely more satisfying, though here we have
not anything like the same wealth and richness of natural appearance to
engage our attention, and the innocent simplicity of the technique
leaves much more exposed the structure of lines, which in consequence
play a greater part in the effect of the picture.

[Illustration: Diagram XIV.

ILLUSTRATING POWER OF CURVED LINES TO CONVEY ENERGY. A, B, C, D.]

[Illustration: Diagram XV.

ILLUSTRATING THE FLOW OF LINES ON WHICH THE RHYTHMIC UNITY OF THIS
PICTURE DEPENDS.]

[Illustration: Plate XXXVII.

THE BIRTH OF VENUS. BOTTICELLI (FLORENCE)

A beautiful example of Botticelli's refined line rhythm. (See diagram on
opposite page for analysis.)

_Photo Anderson_]

In both cases note the way the lines lead up to the principal subject,
and the steadying power introduced by means of horizontal, vertical, and
other straight lines. Veronese has contented himself with keeping a
certain horizontal feeling in the sky, culminating in the straight lines
of the horizon and of the sea edge. And he has also introduced two
pyramids, giving straight lines in among the trees, the most pronounced
of which leads the eye straight on to the pr