a splendid example of his use of this principle. A great unity of
expression is given by bringing the greatest dark and light together in
sharp contrast, as is done in this picture by the dark rocks and ships'
prows coming against the rising sun. From this point the dark and light
masses gradate in different directions until they merge above the ships'
sails. These sails cut sharply into the dark mass as the rocks and ship
on the extreme right cut sharply into the light mass. Note also the
edges where they are accented and come sharply against the neighbouring
mass, and where they are lost, and the pleasing quality this play of
edges gives.

Stability is given by the line of the horizon and waves in front, and
the masts of the ships, the oars, and, in the original picture, a
feeling of radiating lines from the rising sun. Without these steadying
influences these compositions of gradated masses would be sickly and
weak.

Corot: 2470 Collection Chauchard, Louvre.

This is a typical example of Corot's tone scheme, and little need be
added to the description already given. Infinite play is got with the
simplest means. A dark silhouetted mass is seen against a light
sky, the perfect balance of the shapes and the infinite play of
lost-and-foundness in the edges giving to this simple structure a
richness and beauty effect that is very satisfying. Note how Corot, like
Turner, brings his greatest light and dark together in sharp contrast
where the rock on the right cuts the sky.

[Illustration: Diagram XXVI.

TYPICAL EXAMPLE OF COROT'S SYSTEM OF MASS RHYTHM, AFTER THE PICTURE IN
THE LOUVRE, PARIS]

Stability is given by the vertical feeling in the central group of trees
and the suggestion of horizontal distance behind the figure.

It is not only in the larger disposition of the masses in a composition
that this principle of gradated masses and lost and found edges can be
used. Wherever grace and charm are your motive they should be looked for
in the working out of the smallest details.

* * * * *

In concluding this chapter I must again insist that knowledge of these
matters will not make you compose a good picture. A composition may be
perfect as far as any rules or principles of composition go, and yet be
of no account whatever. The life-giving quality in art always defies
analysis and refuses to be tabulated in any formula. This vital quality
in drawing and composition must come from