ng an order for the same to a rival. His
picture is a collection of separate individuals, each having an equal
importance. Here was the sudden ending of Rembrandt's career as a painter
of portraits, only one canvas of an important group being painted
thereafter--the "Syndics." A certain reason in this popular criticism
cannot be denied. The composition is unnecessarily scattered and the
placements arbitrary, though through the radial lines of pikes and flag
pole the scattered parts are drawn together. The composition partakes of
the confusion of the scene depicted, yet in its measure of parts one can
doubt not that the comparative values of his sitters have been considered.

The democracy of man in his freedom and equality is the despair of the
artist who knows that the harmony of the universe is conditional on
kingship and principalities and powers, and the scale of things from the
lowest to the highest.

Says Mr. Ruskin: "The great object of composition being always to secure
unity--that is, to make many things one whole--the first mode in which this
can be effected is by determining that one feature shall be more important
than all the rest and that others shall group with it in subordinate
position."

Principality may be secured either by attraction of light as in a white
dress or by placing the figure as the focus of leading lines as are
supplied by the architecture of a building, or such lines as are happily
created by surrounding figures which proceed toward the principal one, or
by including such a figure in the most important line. Again the figure
for such a position may be the only one in a group which exhibits
unconcern or absolute repose, the others by expression or action
acknowledging such sovereignty.

The summer time out-of-door group which is so frequently interesting only
to "friends," in many cases affords opportunities for pictures attractive
to all. The average photographer is concerned only with his people; the
background is brought to mind when he sees the print. Although little or
no interest may be found in the background it should be appropriate, and
should play a reserve part, serving the chiaroscuro and therefore the
illumination of the subject and creating an opportunity for the exit which
always gives depth and an extended interest. A mass of foliage with
little penetration by the sky except in one or two places and at the side,
not the centre, may always be found safe. If the