In the
other pictures of this remarkable series may be found three distinct type
forms of composition.

Together they set forth the structure of the circle or ellipse, the letter
S or line of beauty, the triangle, and the cross. The one before us
discloses a triangle or letter V, on which the figures compose, within a
triangle formed of the rock fracture and path.

It must be remembered that the effort of the artist is to secure light _in
the degree_ which his subject demands. There are many degrees of light
and they must not be confounded. The light of a lantern is not sufficient
illumination for an effect under gas and a window on the north side won't
do to call sunlight into a room upon a posed figure. The fault of many
pictures is that the proprieties just here are violated. Some of the
lowest toned interiors of Israels are satisfactory when judged from the
standpoint of light, while out of door attempts in high key fail to
suggest the fact of a sun in nature. The fault is that _the exact degree_
of illumination which the subject demands is not present.

There may be a greater feeling of light in a figure sitting in the shadow
than in the same figure next to a window.

To the painter, light and air are but degrees of the same idea. If the
figure seated in the shadow is well enveloped and relieved by the exact
temper of reflected lights, it takes its place in his scheme of brilliant
lighting as much as any other part.

The purpose of shadow is first to produce light, second to secure
concentration, third to dismiss space not required and incidentally to
suggest air and relief by the gradation which every shadow must have.

The idea of _Notan,_ or the Light and Dark combination of Japanese art,
differs from this in its intent, which is merely to set forth an agreeable
interchange of light, dark and medium toned spaces. To the decorative
intentions of the oriental artist natural fact is of small concern and the
fact of shade produced by light is dismissed as are many other notions
which are non-conformable to his purpose. The great value of this
concept, however, should be recognized, and in formulating a scheme of
light and shade for any picture its light and dark masses may be so
arranged as to suggest much of the beauty which its flat translation by
Notan would yield. The practice of laying out the flat light and dark
scheme of every picture which is to be finished in full relief is
therefore most h