hose of the painter and the especial ambition of the former's art is to
be painter-like, separations have been thought unnecessary in the address
of the text. It is the best wish of the author that photography,
following painting in her essential principles as she does, may prove
herself a well met companion along art's highway,--seekers together, at
arm's length, and in defined limits, of the same goal.

The mention of artists' names has been limited, and a liberal allusion to
many works avoided because to multiply them is both confusing and
unnecessary.

To the art lover this book may be found of interest as containing the
_reasons_ in picture composition, and through them an aid to critical
judgment. We adapt our education from quaint and curious sources. It is
the apt correlation of the arts which accounts for the acknowledgment by
an English story writer that she got her style from Ruskin's "Principles
of Drawing"; and of a landscape painter that to sculpture he owed his
discernment of the forest secrets, by daily observing the long lines of
statues in the corridor of the Royal Academy; or by the composer of
pictures to the composer of music; or by the preacher that suggestions to
discourse had come to him through the pictorial processes of the painter.

CHAPTER II - THE SCIENTIFIC SENSE IN PICTURES

The poet-philosopher Emerson declared that he studied geology that he
might better write poetry.

For a moment the two elements of the proposition stand aghast and defiant;
but only for a moment. The poet, who from the top looks down upon the
whole horizon of things can never use the tone of authority if his gaze be
a surface one. He must know things in their depth in order that the
glance may be sufficient.

The poet leaves his geology and botany, his grammar and rhetoric on the
shelf when he makes his word picture. After he has expressed his thought
however he may have occasion to call on the books of science, the grammar
and rhetoric and _these may very seriously interfere with the spontaneous
product._ So do the sentries posted on the boundary of the painter's art
protect it from the liberties taken in the name of originality.

"The progressive element in our art," says the author of "The Law of
Progress in Art," "is the scientific element. . . . Artists will not be
any more famous for being scientific, but they are compelled to become
scientific because they have embraced a profession which in