he
Simple Simon sort, or an indisposition to undertake difficult things,
which leads to a selection of the easy subject in nature. Having found
some modest bit of charm, the Simple Simon turns and twists it to
attenuation, with the earnest declaration that there is no greater quality
than simplicity; but purposeful emptiness lifts its hands in vain for the
baptismal sanctification of the poetic spirit.

Where simplicity really serves the artist in his task is in those cases
demanding the unification of many elements.

In painting, Rubens and Turner thus wrought, bringing harmony from an
organ of three banks and a score of stops, setting themselves the task of
strong men.

Whatsoever subject be projected, the quality of principality takes
precedence over all others. This is the first step toward simplicity;
some one thought made chief; therefore some one object in the composition
of quantities and some one light in the scheme of chiaroscuro dominant.
With this determined, the problem which follows is, how shall principality
be maintained and to what degree of sacrifice must all other objects be
submitted. In the rapid examination of many works of art, those that
appeal strongest will be found to be those in which the elements are
simple, or, if complex, are governed by this quality through principality.

RESERVE.

Another bifurcation of simplicity is Reserve. In the simple statement of
the returning Roman general: "I came, I saw, I conquered," all that the
senate desired to know was stated and it gained force by virtue of what
was left unsaid. Anything else might have gratified the curiosity of his
auditors, but the man, in holding this secret, made _himself_ an object of
interest. Rembrandt has told us that the legitimate gamut of expression
lies some distance between the deepest dark of our palette and its highest
light. Expression through limitations is dignified, a quality which the
strain to fill all limits sacrifices. It is the force quickly squandered
by the young actor, who "overacts," disturbing the balance of forces in
the other parts.

Upon the pivot of Reserve the opposing creeds of the Impressionists and
Tonists bear with most contention. The former would lash their coursers
of Phoebus with unsparing hand from start to finish; the latter prefer the
"Waiting Race," every atom of force governed and in control, held for the
opportunity, when increasing strength is necessary. It is the diff