s the bottom line of the distant woods
gives another paralleling line, running the full length of the picture.
Given the verticals together with these, however, their force becomes
weakened until there ensues an almost perfect balance, the crossing lines
weighing out even. The sketch from Claude Lorraine, out of the "Book of
Truth," shows a great left angle composition of line not very
satisfactory, owing to its lack of weight for the long arm of the
steelyard. The principle, however, which this sketch exhibits is correct,
and its balance of composition would be easily effected by the addition of
some small item of interest to the extreme left. It is not, however, a
commendable type of composition, owing to the difficulty of obtaining a
rational balance, but when this is to be had in just its right force the
plan of lines is excellent. In the matter of measures, were the whole
composition pushed to the left we would at once feel a relief in the
spaces. But the impressionist queries why not take it as it stands! So
it might be taken, and a most balanced picture _painted from it;_ but
these considerations apply to the black and white, without the alteration
which color might effect.

[Mother and Child--Orchardson (Horizontals opposed or Covered); Stream in
Winter--W. E. Schofield (Verticals and Horizontals vs. Diagonal)]

No less aggravated a case of horizontals is the charming picture of
_mother and child_ by Mr. Orchardson. The long cane sofa and the
recumbent baby are the two unaccommodating lines for which the mother's
figure was especially posed. Howsoever unconscious may appear the
renderings of this figure, plus the fan, the underlying structure of it
conforms absolutely to the requirements of the unthinking half of the
subject. It is an instance of an unpromising start resulting with
especial success through skillful playing to its awkward leads.

The principle of the diagonal being equivalent as a space filler to the
crossed horizontal and vertical is shown by comparison of the wood
interior with the _winter landscape,_ in which the foreground has been
thus disposed of. The force of a horizontal is more cleverly weakened by
such a line because besides adding variety it accomplishes its intention
with less effort. As a warning of what may happen when these principles
are neglected or overdone one glance at the _equestrian picture by Cuyp_
is sufficient. His subject, a man on horseback, is an excel