the cattle as isolated spots,
the tree dividing the sky space into almost equal parts. In the second,
the lower branch of tree blocks the sky and on the other side there is a
natural window, opening an exit into the distance. This is desirable but
unfortunately the bending roadway on the right accomplishes the same
purpose and so two exits are offered, always objectionable. With this
out, the value of the rock and foreground cow is also better appreciated
as leading spots taking us to the natural focus, the white cow lying close
to the tree. The rock in left corner having no influence in a leading
line should be suppressed. The cattle now swing into the picture from
both sides and one of them opposes the horizontal of her back to the
vertical of the tree, thus easing the force of its descent.

In the last there is much more concentration. The road does not parallel
the bottom and though passing out of the picture the vision is brought
back again along the distant line of trees. The objection to this
arrangement lies in the equal division of the subject by the tree-trunk.
The white cow focalizes the vision but the sky and the more graceful
branches soon capture it. The cow in the right foreground is only
valuable as an oppositional measure to the _line_ of cows stretching
across the picture which it helps to divert, otherwise she carries too
much attraction to the side.

The best arrangement for the subject would have been the tree one-third
from the left side, the white cow touching its line, one or two of those
lying on the ground working toward the foreground in a zigzag, little or
no diversion from the distance on the left of tree. The swing of the
picture would then have been from the foreground to the focus, the white
cow and tree, thence to the group under the tree and out through the sky.
This would have divided the picture-plane into thirds instead of halves,
bringing it into the form elsewhere recommended as being the arrangement
of Claude's best pictures.

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CHAPTER V - ENTRANCE AND EXIT

GETTING INTO THE PICTURE

One reason that many pictures are passed in exhibitions is that the
visitor lacks an invitation to enter. Others frankly greet one a long way
off, obliging the wanderer searching for compelling interest to
acknowledge their cordiality, aware of a gesture of welcome in something
which he may later pause to analyse and at length appre