ct or idea shall be supreme. Its correlative
idea contains in it the hardships of composition, namely, Sacrifice. This
forces a graded scale of importance or attraction throughout the entire
work.

The idea has complete exposition in the vase or baluster in which the
commanding lines of the body find both support and extension through the
lesser associated parts. These stand as types of complete art revealing
the uncompromising principles of domination and subordination.

[Stable Interior--A. Mauve (A simple picture containing all the principles
of composition); Her Last Moorings--From a Photograph]

In the picture, complete in its chiaroscuro, these principles are as
easily apprehended as with the more tangible line and space of the solid
form. The _"__Cow in a Stable,__"_ by Mauve, contains by his management
of this rude and simple subject all the possibilities opened to and
demanded by compositions involving many elements. It might stand as the
light and dark scheme for some of the allegories of Rubens, Wiertz or
Correggio, or for many genre interiors, or for an "arrangement" of
flowers.

When once the importance of this principle is realized many of the
pitfalls into which beginners are so prone to fall are covered, and that
forever. Time and regrets are both saved to the student who will pause
for the absorption of the few principles on which all the arts are
founded.

This idea may seem to disturb the notion of balance across the centre,
especially when the object which receives our first consideration occupies
one side of the picture. A study of the postulates together with the
principle of the steelyard and the knowledge of picture balance will clear
any apprehension of conflict.

The Dominant Idea

Above and beyond the object which dominates all others is the idea which
dominates the picture. Such may be light, gloom, space, action, passion,
repose, communion, humor, or whatever has stimulated and therefore must
govern the composition. If with the sentiment of Repose as subjective,
the principal object expresses action, there must necessarily be conflict
between the idea and the reality.

Action, however, may very appropriately be introduced into a conception of
repose, its contrast heightening this emotion; the creeping baby, the
frolicking kitten, the swinging pendulum, the distant toilers observed by
a nearer group at rest.

The point whe