mits of the canvas. More often however these crowds may be found to
hang most beautifully to a natural axis and to comply with all the
principles of pictorial structure.

In his park scene, showing several tiers of equestrians one above the
other, the chief charm is the idea of continuous movement which the scene
conveys. The detail, wisely omitted, if supplied would arrest the
attention and a challenge on this basis would follow. It would then be
found that what we accepted as an impression of natural aspect we would
demand more of as a finished picture. It is because it is more decorative
than pictorial and because its pictorial parts are rendered by suggestion,
that it makes so winning an appeal.

The quaint and fascinating concepts of Mr. Bull in the range of animal
delineation are all struck in the stamp of this newer mould, and the list
is a constantly increasing one of the illustrators whose work bears this
sign.

RELIEF.

The popular notion concerning pictures is that they should stand out; but
as has been aptly said, "they should stand in"; so stand as to keep their
places within the frame and to keep the component parts in control. A
single object straining itself into prominence through the great relief it
exhibits, is just as objectionable as the one voice in a chorus heard
above the rest.

It is a law of light that all objects of the same plane receive
identically the same illuminations. If then, one seems favored, it must
be by suppression of the rest. Now and then this is necessary, but that
it occurs by this means and not by unnatural forcing must be evident.

It is not necessary for the artist to lift his sitter off the canvas by a
forced light on the figure and an intense shadow separating him from the
wall behind.

Correggio knew so well to conserve breadth just here. Instead of this
cheap and easy relief, he almost invariably chose to offset the dark side
with a darker tone in the background, allowing the figure's shadow to melt
inperceptibly into the back space. Breadth and softness was of course the
result.

Occasionally however a distinct attempt at relief may be witnessed in the
work of good painters. Some of Valesquez' standing portraits are
expressive of the painter's joy in making them "stand out." In all these
pictures however there are no other objects, no items added to the
background from which the figure is separated. The subject simply stands
in air. In other