good
intention of the artist to make a complete line within the sides of the
canvas seems a matter of greater concern than other principles of
composition, quite as important. The ellipse of the three figures is
beautifully carried out, but it leaves one of them, the most important, in
the least important place. The whole composition sags in this direction,
the weight of Joseph, in half shadow, being insufficient to recover the
balance. With these figures all well drawn and especially adapted in
their contours to the organic lines of composition, several rearrangements
might be made, as well as other arrangements, with any one of the four
figures omitted, its place used for reserved space. No better practice in
linear and mass composition could be suggested than slight modification of
parts by raising or lowering or spacing or by the reconstruction of the
background, of well known pictures in which the composition is confused.

A common mistake in the use of the circular form is that of making it too
apparent. A list of pictures might be made wherein the formal lines of
construction are very much in evidence. Such could be well headed by
Raphael's "Death of Ananias," where the formality of the arrangement is on
a par with the strain and effort expressed in every one of its figures.
The curved peristyle of kneeling disciples offers a temptation to push the
end man and await the result on the others, more to witness a
rearrangement than create any further commotion in the infant church. The
fact that this work is decorative rather than pictorial in intention
cannot relieve the representation of an actual occurrence of the charge of
being struck off in an oft-used and well worn mold. Compare with this
Rembrandt's famous circular composition, "Christ Healing the Sick,"
wherein though the weight on either side of Christ is about evenly
divided, the formality of placement has been most carefully avoided, and
where the impression is merely that the Healer is the centre of a body of
people who surround him.

With the great principle of linear composition in mind, namely, that the
vision travels in the path of least resistance, no rule need be formulated
and no further examples produced to prove that the various items of a
composition are taken at their required value _to the extent to which they
adhere to and partake of the established plan of observation._

CHAPTER VII - ANGULAR COMPOSITION, THE LINE OF BEAUTY