ainters plainly tell
us by the blank space of the background that there shall be but one idea
to the observer's mind. In this event he has but to bow and withdraw.
But suppose the curtain of the background be drawn and a glimpse is
disclosed of a landscape beyond. This bit of attraction leads us toward
it. Instead therefore of breaking off from the subject we are led away
from it. The associations with the subject are ofttimes interesting and
appropriate and the great majority of portraits include them. As soon
therefore as we begin on any detail in the background we connect the
portrait with the pictorial and the sitter becomes one of a number of
elements in the scheme, the fulcrum on which they balance. A patch of
sky, besides creating an expansion in the diameter of the picture
introduces color, often valuable, as noted later.

But more than this, these sky spots in a dark background are air holes.
They enable us to breathe in the picture, giving a decided sense of
atmosphere. When well subordinated they offer no distraction to the
subject, but give to the picture a depth. When no other object is
introduced, a gradation is serviceable. Much may be thus suggested and
besides the depth and air properties thus introduced, such variety of
surface excites visual motion. The eye always follows the course of light
from the shadow. The artist may make use of this fact in balancing the
picture and of leading the eye out where he will. As the elaborate
subject is often approached through a curve or zigzag, in like manner it
should be left, though the natural finish of such a series should connect
easily with its start.

The eye should _never_ be permitted to leave the principal figure or
object and go straight back and out through the centre. If this is
allowed the width of the picture is slighted. Therefore if the attraction
of the natural exit is greater than other objects they exist in vain.

The exit should be so guarded that after the visitor has moved about and
seen everything, he comes upon it naturally. For example conceive a
subject--figures or cattle--with the principal object in the foreground.
From this the other objects, all placed on the left side, move in a half
circle back and into the picture, this circuit naturally leading to an
opening in the trees or to a point of attraction in the sky or to a
glimpse of distance. If this be not of less interest than any object of
the progression, the unity