ape.

CHAPTER IX - GROUPS

In the statuesque group the outline is important because this is seen
against the background of wall, or sky, and frequently in silhouette. Any
fault in its contour as a mass is therefore emphasized. This
consideration applies pictorially to groups which are complete in
themselves and have no incorporation with backgrounds, such for instance
as the photographic group of a number of people. Here personality is the
first requirement, but harmony of arrangement and picturesqueness may be
united thereto. The two best shapes are the oval and the pyramid. In
either of these outlines there is opportunity for a focal centre, always
important. In forming such an arrangement the focus should be the first
consideration, item by item being added. As the group approaches the
outline it must be governed according to the form desired. A more
artistic combination of figures will be found to be a separation into a
large and a small group, the principal figure placed in either. If in the
former, the figures of the smaller group must be sacrificed to this
figure, either in pose or lighting. If the principal figure is in the
smaller group or entirely separate, this isolation will prove sufficient
for the distinction.

Where greater liberties may be taken and the intention is for a purely
artistic composition, the curvilinear S shape will be found a good line to
build upon. When this is too apparent a single oppositional figure will
destroy its formality.

The possibilities of the single figure as a reserve, kept to be placed at
the last moment where something is necessary, are worth noting. If the
group be too formal in outline, lateral arrangement, or expression, the
reserve may be played as a foil to create a diversion.

In all successful groups the principle of sacrifice must play havoc. Here
the artist should expect to pay for his art scruples. Rembrandt was the
first painter sacrificed to these instincts. When the order to paint the
_"__Municipal Guard__"_ came to him he saw in it an opportunity toward the
pictorial. Knowing what this entailed he persevered, despite the
mutterings of his sitters, the majority of whom were ill pleased with
their respective positions. When finally the canvas was finished, full of
mystery and suggestiveness and those subtle qualities, such as before had
never been seen in Dutch art, those for whom it had been executed
expressed their opinion by givi