ll further this line of
the face and bring the whole canvas into intense sympathetic unity of
expression.

The influence that different ways of doing the hair may have on a face
is illustrated in the accompanying scribbles. The two profiles are
exactly alike--I took great trouble to make them so. It is quite
remarkable the difference the two ways of doing the hair make to the
look of the faces. The upward swing of the lines in A sympathise with
the line of the nose and the sharper projections of the face generally
(see dotted lines), while the full downward curves of B sympathise with
the fuller curves of the face and particularly emphasise the fullness
under the chin so dreaded by beauty past its first youth (see dotted
lines). It is only a very sharply-cut face that can stand this low knot
at the back of the head, in which case it is one of the simplest and
most beautiful ways of doing the hair. The hair dragged up high at the
back sharpens the lines of the profile as the low knot blunts them.

[Illustration: Diagram XXI.

ILLUSTRATING THE EFFECT ON THE FACE OF PUTTING THE HAIR UP AT THE BACK.
HOW THE UPWARD FLOW OF LINES ACCENTUATES THE SHARPNESSES OF THE
FEATURES.]

[Illustration: Diagram XXII.

ILLUSTRATING THE EFFECT ON THE SAME FACE AS DIAGRAM XXI, OF PUTTING THE
HAIR LOW AT THE BACK. HOW THE FULLER LINES THUS GIVEN ACCENTUATE THE
FULLNESSES OF THE FEATURES.]

The illustrations to this chapter have been drawn in diagrammatical form
in order to try and show that the musical quality of lines and the
emotions they are capable of calling up are not dependent upon truth to
natural forms but are inherent in abstract arrangements themselves. That
is to say, whenever you get certain arrangements of lines, no matter
what the objects in nature may be that yield them, you will always get
the particular emotional stimulus belonging to such arrangements. For
instance, whenever you get long uninterrupted horizontal lines running
through a picture not opposed by any violent contrast, you will always
get an impression of intense quiet and repose; no matter whether the
natural objects yielding these lines are a wide stretch of country with
long horizontal clouds in the sky, a pool with a gentle breeze making
horizontal bars on its surface, or a pile of wood in a timber yard. And
whenever you get long vertical lines in a composition, no matter whether
it be a cathedral interior, a pine forest, or a row of scaffold poles,
y