ly framed. Even with these verticals cutting the picture into
sections, had horizontals been introduced between them and in front, or
even behind, some of the necessary unity of pictorial structure could have
been secured. What connection exists between these several parts is all
subjective, but not structural, the impulse to exhibit the wonderful
columns in their remarkable perfection of detail being a temptation to
which the picture was sacrificed.

Such an exhibition of the uncontrolled vertical produces an effect on a
par with a football carried straight across the field and placed on the
goal line without opposition. All the strategy of the game is left out,
and although the play produces the required effect in the score, a few
repetitions of the procedure would soon clear the benches. The interest
to the spectators and players alike enters in when the touch-down is
accomplished after a series of zigzags toward the outer line, where force
meeting force in a counter direction results in a tangent, when the goal
is reached by the subtlety of a diagonal. A cushion carom is an artistic
thing; a set-up shot is the beginner's delight. In the _"__Allegory of
Spring,__"_ by Botticelli, we have a sample of structure lacking both
circular cohesion and the stability of the cross adhesion. Like separate
figures and groups of a photographic collection, it might be extended
indefinitely on either side or cut into four separate panels. The
accessories of the figures offer no help of union. Besides the lack of
structural unity, no effort toward it appears in the conception of the
subject. Each figure or group is sufficient unto itself, and the whole
represents a group of separate ideas. This is not composition, but
addition.

But what of the single figure in standing portraiture, when only the
person is presented, and no thought desired but that of personality, when
the outline stands relieved by spaces of nothingness? Though less
apparent, the principle of union with the sides still abides. What is
known as the lost and found outline is a recognition of this, an effort of
the background to become homogeneous with the vertical mass, the line
giving way that the surrounding tone may be let in. Such is the feeling
with which many of the most subtle of Whistler's full-lengths have been
produced. The portraits of Carriere are still more striking examples of
absolute dismissal of outline.

In the well-known portrait o