of the picture disappears, for from the
principal object in the foreground the vision goes direct to the distance.

Providing two or more exits is a common error of bad composition. This is
the main objection to the form of balance on the centre, which produces
two spaces of equal importance on either side.

In the drawing of the _"__Shepherdess__"_ by Millet the attraction of two
alleys which the eye might take is largely regulated by the subordination
of one of them by proportional size and a lowering of the tone of the sky.
At best, however, it is a case of divided interest, though the deepest
dark against the highest light helps to control the situation. If for the
balance of the pines in the _snow scene_ a small tree on the right were
added, the objection would then be that from the central point of
attraction, the pines, the vision would go in two directions, toward the
houses and the tree. The visual lines connecting these two points would
cross the first or principal object instead of leading from this to one
and thence to the other as would not be the case if the added tree
appeared in the extreme _distance_ on the right. Under this arrangement
there would be progression into the picture. A still better arrangement
would have been direct movement from the mass of trees to the houses
placed on the right, with the space now occupied by them left vacant.

CHAPTER VI - THE CIRCULAR OBSERVATION OF PICTURES

The entrance into a picture and obstacles thereto, as applied to
landscape, has already been considered, from which it is evident that
wisdom renders this as easy as possible for the vision, not only
negatively, but through positive means as well. An obstruction through
which penetration must be forced, diverting the attention, is like the
person who claims us when we are trying to listen to someone else.

When in nature we observe a scene that naturally fits a frame and we find
ourselves gazing first at one object and then at another and _returning
again to the first,_ we may be sure it will make a picture.

But when we are tempted to turn, in the inspection of the whole horizon
(though this be circular observation), it proves we have not found a
picture. Our picture, on canvas, must fit an arc of sixty degrees. The
other thing is a panorama. The principle is contained in the illustration
of the _athletes._ This picture has the fascination of a continuous
performance and so in degree shoul