97. What is learned by such hard study is not apt to leave one, but will influence him in his daily work for good or bad; therefore be taught rightly. A few final hints on light and shade may be useful. Always, have the management of the light uppermost in your mind. A subject ever so gracefully posed is easily spoiled in lighting. Let that part of the picture which is of greatest importance - the bee - be the subject of your special care. When introduced to a stranger, our attention is first directed to his face; and so it is with a picture. Light your, face well, then; give good exposures, and you will secure effects that will reward yon for your care. At the same time do not overlook those helpful appendages in every picture - tht hands. They may spoil your composition, or they may serve largely in making it. They are never to be disregarded, even if they do not show in the picture, for their disposition has much to do with the carriage of the body.

97. Lavater told Goethe, that, on a certain occasion, he held the church-bag for the collection of offerings from the people, when he tried to observe only the hands, and satisfied himself that in every individual the shape of the fingers and hand, and the action expressive of the feeling in dropping the gift, were distinctly different and characteristic.

Thus we see how important a member is the hand; second only to the face in its capacity for expression, it should receive nothing less than secondary attention, and be kept in harmony with the face, as well as with the whole action of the body, whatever may be represented. The hand should be studied with as much care as the face. There are twice as many of them; we see them in our daily life under all conditions, and doing all sorts of things. Wherever we see one that is pleasing, make a note of it; remember it, and the time will soon come when in our daily we can make the hand of some sitter take the same beautiful form that impressed itself upon our own mind. When we see a hand that Is not pleasing, let us consider why it is not so, and remember it as well as the other, so as to avoid ever photographing on like it. Thus we learn; and let us remember that every picture is made up of parts, details, all of which require careful attention, and there are none more important than the bands of our sitters. - " Young Chloride."

98. The wondrous potency of composition - lines and effect - is displayed in the closing illustration of this lesson. In it we have examples of all the various forms of composition; all the varieties of lines; light and shade; perspective; balance; unity; Rembrandt effects; massing of

Fig. 27.

64 Circular Composition 45

98. After man has - fulfilled all of his requirements as an animal, in making himself secure against his neighbor, a superior life dawns on him - that of contemplation, by which he is led to interest himself in the creative and permanent causes on which his own being and that of his fellows depend, in the leading and essential characters which rule each aggregate, and the light; action; repose;the carefull introduction of accessories; and, if we hear it, doubtless there is perfect harmony, also, throughout. It is a wonderful study, and will reveal its merits to you - show you new beauties afresh each time you examine it. It is full of excellent lessons and suggest and is produced strictly upon the principles just expounded.

99. The endless subject must now reluctantly be dropped here. It has not been exhausted by any manner of means. In the beginning, the moat that was hoped for was to interest you sufficiently in it to help you comprehend its importance, and to know somewhat of its nature. It* this has happily been accomplished, then, from being sensible of the effects of art from instinct, yon are already so far advanced as to be able to reason out the causes of your respect and esteem for it, and it will be come a part of your nature - of your life. And if it has thus become imprest their marks on the minutest details. Two ways are open to him for this purpose. The first is science, by which, analyzing these causes and these fundamental laws, be expresses them in abstract terms and precise formula. The second is art, by which he manifests these causes and these fundamental laws no longer through arid definitions, inaccessible to the multitude, and only intelligible to a favored few, but in a sensible way, appealing not alone to reason, but also to the heart and senses of the humblest individual. Art has this peculiarity, that it is at once noble and popular, manifesting what is most exalted, and manifesting it not at all. - N. Taine.

90. "Ah! what do you ask about art? I can say nothing that shall satisfy you. Ask about love, that is my art; in it I am to perform, in it I shall recollect myself and rejoice"

But this breaking forth to light of the mind, is it not art? This inner man asking for light, to have by the finger of God loosened his tongue, untied his hearing, awakened all senses to receive and to spend; and is love here not the only master, and we its disciples in every work which we form by its inspiration?

Work of art, however, are those which alone we call art, through which we think to perceive and enjoy art. But as for the producing of God in heart and mind overpowers the idea we make to ourselves of him and his laws, which in temperate life are of value, even so does art overpower men's valuing of it. They who fancy to understand it will perform no more than what is ruled by understanding; but whose senses are submitted to its spirit, he has revelation. All production of art is a symbol of revelation, where the conceiving mind is often more imparted with revelation than the producing one. Art is witness that in our world the language of a higher one is plainly to be perceived; and when to explain it we venture not, then it will make us ready for this higher spirit's life, of which it is the language. We want not to understand it, but to trust in it; faith is the seed through which this language spirit germs in us; so as all wisdom springs from faith, as it is the seed of an immortal world, as the highest wonder is true, all that lies there between must be an approach to truth and but the judging; Blind of mankind misleads. What, in fairness, may and dares make us wonder, but our own meanness? - Bettine Von Arnim," Goethe's a part of you, then it will pervade your every act when prosecuting the department to which you are devoted, and mould you and influence you in its own sweet, seductive way, until you live it, and the results of your study and labor will show its impress upon them to a degree that will surprise and delight all for whom you labor. Your works will be you, and you will be honored and patronized as you deserve.