of
Corot's happiest subjects, though not especially characteristic. A
considerable part of its charm lies in our opportunity to girdle it with
our eye, and in imagination from any point along its rim to view its
circumference as a page from Nature, complete.

RECONSTRUCTION FOR CIRCULAR OBSERVATION.

Circular composition traceable in what has been first conceived as
pyramidal or rectangular, circular composition as the first intention,
expressed either on a vertical plane or in perspective, i.e., circular or
elliptical--and composition _made circular_ not by any arrangement of
parts, but by sacrifice and elimination of edges and corners are the three
forms of composition which produce circular observation. The value of the
circle as a unifying and therefore as a simplifying agent cannot be
overestimated, especially in solving the problems which occur in
composition where the circle has not been a part of the original scheme,
but where, when applied, it seems to bring a relief to confusion and
disorder. In many cases where all essential items are happily arranged,
but, as a whole, refuse to compose, the addition of some element or the
readjustment of a part which will produce circular observation, will
ofttimes prove the solution of the difficulty.

[The Hermit--Gerard Dow (Rectangle in Circle); The Forge of
Vulcan--Boucher (Circular Observation by Suppression of Sides and
Corners)]

Just as progression in a straight line will soon carry us out of the
picture, will circular progression keep us within its bounds. If then,
circular observation affords the best means of appreciation, it follows
that circular composition is the most telling form of presentation. There
are many subjects which naturally do not fall in these lines, but which
may ofttimes be reedited into this class. This reediting means
composition, and two examples from a vast number are here given to show
the working out of the problem. In the "Hermit," by Dow, the figure, book
and hour glass compose in a simple left angle, but the head becomes the
centre to a circular composition by the presence of the arch above and the
encircling shadow behind and beneath the arm. The corners sacrifice their
space to strengthen the centre and the vision is thus completely funneled
upon the head. In striking contrast to this is the composition by
Boucher. Here are the elements for two or three pictures thrown int