Pictorial; The North River--Prendergast; An
Intrusion--Bull; Landscape Arrangement--Guerin
Stable Interior--A. Mauve (A simple picture containing all the principles
of composition); Her Last Moorings--From a Photograph
Alice--W.M. Chase (Verticals Diverted); Lady Archibald Campbell--Whistler
(Verticals Obliterated); The Crucifixion--Amie Morot (Verticals Opposed)

PART I

"The painter is a compound of a poet and a man of science."

_--Hamerton_

"It is working within limits that the artist reveals himself."

--_Goethe._

CHAPTER I - INTRODUCTORY

This volume is addressed to three classes of readers; to the layman, to
the amateur photographer, and to the professional artist. To the latter
it speaks more in the temper of the studio discussion than in the spirit
didactic. But, emboldened by the friendliness the profession always
exhibits toward any serious word in art, the writer is moved to believe
that the matters herein discussed may be found worthy of the artist's
attention--perhaps of his question. For that reason the tone here and
there is argumentative.

The question of balance has never been reduced to a theory or stated as a
set of principles which could be sustained by anything more than example,
which, as a working basis must require reconstruction with every change of
subject. Other forms of construction have been sifted down in a search
for the governing principle,--a substitution for the "rule and example."

To the student and the amateur, therefore, it must be said this is not a
"how-to-do" book. The number of these is legion, especially in painting,
known to all students, wherein the matter is didactic and usually set
forth with little or no argument. Such volumes are published because of
the great demand and are demanded because the student, in his haste, will
not stop for principles, and think it out. He will have a rule for each
case; and when his direct question has been answered with a principle, he
still inquires, "Well, what shall I do here?"

Why preach the golden rule of harmony as an abstraction, when inharmony is
the concrete sin to be destroyed. We reach the former by elimination.
Whatever commandments this book contains, therefore, are the shalt nots.

As the problems to the maker of pictures by photography are the same as
t