ion. The _Madonna and St. John with the Infant Christ_ is a sample
of the first. In the "Connoisseurs" by Fortuny we have the second form,
and in the _"__Huntsman and Hounds__"_ the third. A most original and
commendable arrangement of three figures by W. L. Hollinger appears in
"The Pose in Portraiture," the members of a trio, violin, cello and piano.
The pianist is designated by the suggestion of her action which is
completed out of the picture. In her position however she accomplishes
the balancing of two figures against one.

THE FIGURE IN LANDSCAPE

A writer on the use of the figure in out-of-door photography after leading
the reader through many pages concludes by saying: after all you had
better leave them out.

In two works on photography from an English and American press the writer
has seen this article quoted in full and therefore infers that the author
has been taken seriously.

The relation of Man to Nature, and the sentiment, interchangeable,
proceeding from one to the other, is a link binding the one to the dust
from which he sprang and the other to the moods of man to which she makes
so great an appeal. It is a union of a tender nature to the real lover of
the voiceless influences which surround him:

"Tears, idle tears,"
"I know not what they mean,"
"Rise in the heart and gather to the eyes"
"In looking on the happy Autumn fields."

Can a sentiment so strong in fact, be divorced in art? It is the fulcrum
on which the art of Mauve and Millet and Walker lifts and turns us. It is
not necessary to mention other painters; but to the case in point observe
that at Barbizon a photographer of artistic perceptions has for years
followed in the footprints of Millet. If nature moves us directly she
will move us through our own kind. We feel the vastness of a scene by the
presence of a lone figure. The panoramic grandeur of the sky attracts us
the more if it has also appealed to a figure in the picture. But beyond
this affinity in the subject there are sufficient reasons why the figure
should be included. The figure can be moved about as a knight in the
game, hither and yon as the fixed conditions of topography demand. Many a
landscape which would be entirely useless without such an element is not
only redeemed, but is found to be particularly prepared and waiting for
this keystone. Take for example a picture in which lines are paralleling
one another in their recession from the for