its four sides, should be persistently
excluded. It may, however, be found that the _essence_ of certain
subjects lies in a small item of detail. This, when known, must be allowed
for in the design.

Line

Of first importance in composition is the notion of Light and Dark, to
which Line is second. In the tone design line is but the edge of the
masses. Line as the basis of the form of the design is reduced to a few
forms which with modifications become the framework for all pictorial
structure. (See _Fundamental Forms._) Line as an element of beauty
sufficient of itself to become subjective is rare, an exception in
pictorial art. (See _Line_)

The aesthetics of Line must be comprehended and felt in its symbolism. The
form into which lines may lead the subject should have the full knowledge
of the composer.

The Vertical

The uplift of the _simple vertical_ is spiritual as well as mechanical.
It may carry the thought to higher levels or may support therewith an
opposed line. In either case its strength is majestic and in so far as
this line dominates does the picture receive its quality.

The Horizontal

A group of pines or the columns of the Greek or Egyptian temple alike
induce solemnity, quietude and dignity. The horizontal is a line less
commanding than the vertical with its upright strength, the symbol of
repose, serenity, and reserved motion.

The Diagonal

The _diagonal_ being an unsupported line naturally suggests instability,
change, motion, transit. Its purpose frequently is to connect the stabler
forms of the composition or lead therefrom.

The _curvilinear line_ is the basis of variety and graceful movement. As
an adjunct, it assists the sequence of parts. In the latter capacity it
is of great importance to the composer. It is of course the basis of the
circle as well as the important notion of circular construction and
observation.

Given the subject and means of expression the final labor is the restraint
or enforcement of parts in the degree of their importance. This requires
ingenuity and knowledge and frequently demands a reconstruction of the
original scheme.

Principality and Sacrifice

The most absolute and the most important idea in the production of art is
_Principality,_ that one obje