zed.

The opportunity offered in the film-like cirrus clouds, which so
frequently lie as the background to the more positive forms of the
cumulous, for securing the oppositional feeling, is one frequently adopted
by sky painters. Besides strengthening the structure pictorially such
arrangement frequently imparts great swing and movement in the lines of a
sky, carrying the eye away from the horizon. When positive cloud motion is
desired these oppositional masses may become very suggestive of wind,
different strata showing a contrasted action of air currents.

As an adjunct to any other form of composition this line may be profitably
employed. It plays second with graceful effect in the "Path of the Surf,"
"The Lovers," "The Stream in Winter," "The Chant," "1807," and is
traceable in many of the best compositions.

THE RECTANGLE

The last of the great forms of composition is the rectangle, but this
always in connection with oppositional balance. Such a form attaches
itself to two sides of the picture and the importance of a reacting
measure is obvious. In this lies the warrant for its use, for without it
unity is impossible. Of the six fundamental forms of composition this is
the only one which is dependent, all the others containing within
themselves the element of balance.

The rectangle plus the isolated measure approaches the completeness of the
cross and in the degree it lacks this completeness it develops
opportunities for originality.

In the _landscape by Corot_ the letter L is plainly shown. In the diagram
of Fundamental Forms also, the tree-mass, cow and river bank in shadow
serve as a sombre foil for the clump of trees upon the opposite shore
which are bathed in the soft luminous haze of early morning. This is the
real attraction which, grafted upon the heavy structure of the foreground
affects us the more through the contrast. In Mr. Pettie's picture of
_"__James II and the Duke of Monmouth,__"_ we have the opposition of the
two lines, the attraction in the open space being the line of seats along
the wall. These, in the dimly lighted interior, are scarcely assertive
enough to effect the diversion which the open structure demands.

In perspective this arrangement merges into the triangle which has already
been discussed. The _"__Sheep and Shepherd,__"_ by Jacque is constructed
upon the L reversed and is an unusually strong example of a rare
arrangement.