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upstream to the base of the mill, turns a bit to the right because of the white water and then is lost in the wilderness of lines caused by the brush-clad hills. One is conscious of the effort to drag the eye back from the brush to the old mill, only to find that the process is repeated over and over.
The keynote of artistic composition should always be simplicity, and this same scene errs in having too much confusion in the picture because of the great jumble of lines going in all directions.
This is overcome somewhat in Scene 37, page 32, but Scene 38 is a really satisfying one because here we have the lines formed by the falling water and by the line on the top of the dam which meets the corner of the old mill and centers the eye on the mass of the two pine trees as reflected in the millpond. No matter from which direction the eye enters the picture, it will find it comes to rest eventually on the still waters of the pond. The human eye does this so quickly we are not conscious of it. If you will glance at a dozen pictures you will find that your eyes are doing this and finding the focal point instantly and without apparent effort.
Scent 39 on page 34 is an example of the deliberate use of figures to establish a focal point. Without the aid of lines these small figures are able to arrest and control the eye to such an extent that the interest is maintained in the picture. Balance in the picture is attained by the great mass of mountains in the upper right-hand corner.
An easy method of keeping the eye within the borders of the picture, even where there are no available straight lines, is the use of a figure in the foreground looking toward the main portion of the picture. Unconsciously the viewer will place himself in the position of the foreground figure and will literally use the other's eyes in viewing the landscape. This is well exemplified in Scenes 42 and 43, page 36. This same principle of composition is brought home forcibly in the well-known picture of the little white dog which for many years has gazed into the phonograph in thousands of advertising illustrations and post
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