sacrificing to the central figure, the greater its
importance. The sun setting over fields or through the woods though
covering but a very limited measure of the picture is what we see and
remember, the remaining space serving this by subordination. Note how
masters of landscape reach after such a point either by banking up
abruptly about it as in the wood interior, or by vast gradations toward
it. The muzzle of the cannon is the only place where the fire and smoke
are seen, but how much weight is necessitated back of this for the recoil,
and how much space must be reckoned on for the projectile of the gun. A
terrific explosion takes place; but we do not realize its power until it
is noted that sound reverberated and the earth trembled for miles around.
For its full realization the report of the quiet miles is important. The
lack of this support in the light and shade scheme, whereby the principal
object is made to occupy too much space is one of the commonest of faults
in photography and illustration.

One familiar with woodland scenery knows well how often a subject is lost
and found as the sun changes in its course. At one moment a striking
composition is present, the highest light giving kingly distinction to one
of the monarchs of the forest. Passing on to return in a few minutes one
looks in vain for the subject. He is sure of the particular spot, but the
king stands sullen in the shadow, robbed of his golden mantle which is now
divided to bedeck two or three striplings in the background. For the
painter the only recourse is to make a pencil note of the original scheme
of light and shade and hold resolutely to it. The photographer must
patiently wait for it.

Says Reynolds:

"Every man that can paint at all can execute individual parts; but to keep
these parts in due subordination as relative to a whole, requires a
comprehensive view of art that more strongly implies genius than perhaps
any quality whatever."(13)

No more forcible examples of this truth may be had than the art of Claude
Lorraine. Claude whose nature painting Ruskin berates but whose
composition is strong, had two distinct arrangements, both based on the
principle of Principality. In the first he created sides for the centre
which were darkened so that the light of the centre might gain by
contrast. It is the formal Raphaelesque idea; the other and much better
one shows a division of the picture into thirds. The first division is
g