No chapter of this book has given us so much thought as this chapter on composition.

Laws Of Composition

We could easily, as most writers have done, have given a digest of Mr. Burnet's laws of composition, but we have no faith in any "laws of composition." A law, to be logical, must hold good in all cases; now the so-called "laws of composition," are often broken deliberately by great artists, and yet the result is perfect. This is easily explained, for these so-called laws are mere arbitrary rules, deduced by one man from the works of many artists and writers; and they are no more laws in the true sense than are the laws of Phrenology or Astrology.

Our Problem. "Treatise On Paint-Ing"

The great question then, which presented itself to us, was this: Will the study of these so-called rules do good or harm to the student? Will a knowledge of them lead mm to the production of conventional work, or will it in any way help him in his future work? We had many earnest discussions on this point with artists, and they seemed equally uncertain in the matter, though one condemned all such laws as absurd and unnecessary. We most certainly feel inclined to agree with that one dissentient, but in trying to place ourselves in the position of the photographic student, with absolutely no knowledge of art, we have come to the conclusion that, perhaps, the student had better study Mr. Burnet's "Treatise on Painting." A cheap edition of this book is published by Dr. E. Wilson, of 835, Broadway, New York, and every student should get a copy of it. It- can be thoroughly mastered in a week or two, so that not much time will be lost. The numerous plates will at any rate be of some use to the student.

Our Ideas On Composition

Now, from these remarks, it must not be assumed that we are no believer in "composition." Composition is really selection, and is one of the most - if not the most - vital matters in all art, certainly the most vital in the art of photography. But the writer maintains there are no laws for selection. Each picture requires a special composition, and every artist treats each picture originally; his method of treatment, however, often becomes a "law" for lesser lights.

It has been assumed by opponents to "Naturalism" that naturalistic artists ignore composition, and portray nature "anyhow," just as she happens to present herself to them. Nothing could be further from the truth. None is more careful in selection and arrangement than the naturalistic painter, at the same time none is less conventional. Nature is not always suitable for pictorial purposes, though she is often enough suitable, and it is when she is propitious that the artist depicts her; hence the great principle of naturalism, that all suggestions should come from nature. The object of art training is to show these propitious moods, and to enable the painter to portray them. We prefer, then, the word "selection" to composition. The matter really stands thus, a good naturalistic artist selects a composition in nature which he sees to be very fine.

By composition, as used in this paragraph, is meant the harmonious and fitting combination of the various component parts of the picture which shall best express the picture.

Our best method will be to follow Mr. Burnet's division of his subject, and offer a running commentary on the essentials of his work from a photographer's standpoint, giving our ideas on the subject when they differ from those of the author of "A Treatise on Painting."