the same cause,
the lines being in sympathy with the eyes or the oval of the face,
according to how low or high they hang. The influence of long lines is
thus to "pick out" from among the lines of a face those with which they
are in sympathy, and thus to accentuate them.

To illustrate this, on page 178 [Transcribers Note: Plate XLII] is
reproduced "The Portrait of the Artist's Daughter," by Sir Edward
Burne-Jones.

The two things that are brought out by the line arrangement in this
portrait are the beauty of the eyes and the shape of the face. Instead
of the picture hat you have the mirror, the widening circles of which
swing round in sympathy with the eyes and concentrate the attention on
them. That on the left (looking at the picture) being nearest the
centre, has the greatest attention concentrated upon it, the lines of
the mirror being more in sympathy with this than the other eye, as it is
nearer the centre. If you care to take the trouble, cut a hole in a
piece of opaque paper the size of the head and placing it over the
illustration look at the face without the influence of these outside
lines; and note how much more equally divided the attention is between
the two eyes without the emphasis given to the one by the mirror. This
helps the unity of impression, which with both eyes realised to so
intense a focus might have suffered. This mirror forms a sort of echo of
the pupil of the eye with its reflection of the window in the left-hand
corner corresponding to the high light, greatly helping the spell these
eyes hold.

[Illustration: Diagram XX.

INDICATING THE SYMPATHETIC FLOW OF LINES THAT GIVE UNITY TO THIS
COMPOSITION.]

[Illustration: Plate XLII.

PORTRAIT OF THE ARTIST'S DAUGHTER SIR EDWARD BURNE-JONES, BART.

An example of sympathetic rhythm. (See diagram on opposite page.)

_Photo Hollyer_]

The other form accentuated by the line arrangement is the oval of the
face. There is the necklace the lines of which lead on to those on the
right in the reflection. It is no mere accident that this chain is so in
sympathy with the line of the face: it would hardly have remained where
it is for long, and must have been put in this position by the artist
with the intention (conscious or instinctive) of accentuating the face
line. The line of the reflection on the left and the lines of the mirror
are also sympathetic. Others in the folds of the dress, and those
forming the mass of the hands and arms, echo sti