or sides as, demanded.

[The View-Metre]
[Three Pictures Found with the View-Metre]

Many artists reduce all subjects to two or three sizes, which they
habitually paint. The view-meter may in such cases be further simplified
by using a stiff cardboard with such proportions cut out. By having them
all on a single board a subject may be more rapidly tested than by the
device of the collapsible sides. A light board, the thickness of a
cigar-box cover, 4x5 inches, and easily carried in the pocket, will enable
one to land his subject in his canvas exactly as he wants it, and avoid
the grievance of reconstruction later. By leaving a broad margin about
the openings, one obtains the impression of a picture in its mat or frame,
and may judge of it in nature as he will after regard it when completed
and on exhibition.

[View Taken with a Wide Angle Lens]

The accompanying _photograph_ was produced by a revolving camera
encompassing an area of 120 degrees. As a composition it is not bad, but
unfortunate here and there. It has a well-defined centre, and the two
sides balance well, the left clogging the vision and thus giving way to
the right, which allows the eye to pass out of the picture on this side
beyond the fountain and across the stretch of sunlight. At a glance,
however, one may see three complete pictures, and with the aid of the
view-meter a number of other combinations may be developed. Its
construction is that of Hobbema's "Alley near Middelharnes," in the
National Gallery, London, of so pronounced formality that a number of such
construction in a gallery, would prove monotonous.

Beginning on the left, we may apply the view-meter first to exclude the
unnecessary branch forms and sky space on the top; second, to cut away the
tree on the right, which, in that it parallels the line of the margin, is
objectionable, and is rendered unnecessary as a side for the picture by
the two trees beyond in the middle plane; and, third, to limit the extent
of the picture on the bottom, tending as it does to force the spectator
back and away from the subject proper. The interest is divided between
the white building and rustic bridge and the pivot of this composition
adjusts itself in line with the centre tree. In the next picture the
first tree on left of avenue is cut away for the same reason as in the
previous arrangement, and although one of a line of tree