cipality of repose is well illustrated in the group of _"__The
Chant__"_ where the inaction of the woman dominates through its contrast
with the effort expressed by the other members of the group.

There are three types of group composition; first, where the subject's
interest is centred upon an object or idea within the picture as in "The
Cabaret" or Rembrandt's "Doctors" surrounding a dissecting table; second,
where the attraction lies outside the picture as in the "Syndics" or the
"Night Watch," and third, where absolute repose is expressed and the
sentiment of reverie has dominated the group, as in "The Madonna of the
Chair," and the ordinary family photograph.

The spiritual or sentimental quality of the theme should have first
consideration and dictate the form of arrangement. A unity between the
idea and its form of expression constitutes the desideratum of refinement
in composition.

CHAPTER X - LIGHT AND SHADE

In this familiar term in art the importance of the two elements is
suggested in their order.

The effort of the painter is ever in the direction of light. This is his
thought. Shade is a necessity to the expression of it.

Chiaroscuro,--from the Italian, _light obscure,_ in its derivation, gives a
hint of the manufacture of a work of light and shade.

Light is gained by sacrifice. This is one of the first things a student
grasps in the antique class. Given an empty outline he produces an effect
of light by adding darks. So do we get light in the composition of simple
elements, by sacrifice of some one or more, or a mass of them, to the
demands of the lighter parts. "Learn to think in shadows," says Ruskin.
Rembrandt's art entire, is the best case in point. A low toned and much
colored white may be made brilliant by dark opposition. The gain to the
color scheme lies in its power to exhibit great light and at the same time
suggest fullness of color.

As we have discussed line and mass composition as balanced over the
central vertical line, so is the question of light and shade best
comprehended, as forces balancing, over a broad _middle tint._ The medium
tint is the most important, both for tone and color. This commands the
distribution of measures in both directions; toward light and toward dark.
Drawings in outline upon tinted paper take on a surprising finish with a
few darks added for shadow and the high lights touched in with chalk or
Chinese white. The method in opaque w