lines of the doorway above.  In contrast with the awful sublimity of this figure of Death, how touching is the expression of the little figure of Love, trying vainly to stop the inevitable advance.  And this expression is due to the curved lines on which the action of the figure is hung, and the soft undulating forms of its modelling.  Whereas the figure of Death is all square lines and flat crisp planes, the whole hanging on a dramatic right angle; this figure is all subtle fullness both of contour and modelling melting one into the other, the whole hung upon a rich full curve starting at the standing foot of the advancing figure.  And whereas the expression of Death is supported and emphasised by the hard, square forms and texture of the stone steps, the expression of Love is supported and emphasised by the rounded forms and soft texture of the clustering roses.  On this contrast of line and form, so in sympathy with the profound sentiment to which this picture owes its origin, the expressive power of this composition will be found to depend.

[Illustration:  Diagram XIII.

ILLUSTRATING SOME OF THE LINES ON WHICH THE RHYTHMIC POWER OF THIS
PICTURE DEPENDS.]

[Illustration:  Plate XXXV.

LOVE AND DEATH.  BY G.F.  WATTS

A noble composition, founded on the power of the right angle in the figure of Death, in contrast with the curved lines in the figure of Love. (See diagram opposite.)

Photo Hollyer]

In the diagram accompanying the reproduction of this picture I have tried to indicate in diagrammatical form some of the chief lines of its anatomy.

In these diagrams of the anatomy of compositions the lines selected are not always very obvious in the originals and are justly much broken into by truths of natural appearance.  But an emotional significance depending on some arrangement of abstract lines is to be found underlying the expression in every good picture, carefully hidden as it is by all great artists.  And although some apology is perhaps necessary for the ugliness of these diagrams, it is an ugliness that attends all anatomy drawings.  If the student will trace them and put his tracing over the reproductions of the originals, they will help him to see on what things in the arrangement the rhythmic force of the picture depends.

Other lines, as important as those selected, may have been overlooked, but the ones chosen will suffice to show the general character of them all.

* * * * *

There is one condition in a composition, that is laid down before you begin, and that is the shape of your panel or canvas.  This is usually a rectangular form, and all the lines of your design will have to be considered in relation to this shape.  Vertical and horizontal lines being parallel to the boundaries of rectangular pictures, are always right and immediately set up a relationship, as we have seen.