introduction of radiating lines in sympathy with them, they have been

brought into some sort of relationship. The line 1-2 has been selected as the dominating line, and an assortment of radiating ones drawn about it. Now, by drawing 7-8, we have set up a relationship between lines 3-4, 5-6, and 1-2, for this line radiates with all of them. Line 9-10 accentuates this relationship with 1-2. The others echo the same thing. It is this echoing of lines through a composition that unites the different parts and gives unity to the whole. The crossing of lines at angles approaching the right angle is always harsh and somewhat discordant, useful when you want to draw attention dramatically to a particular spot, but to be avoided or covered up at other times. There is an ugly clash of crossing lines in our original scribble, and at C we have introduced a mass to cover this up, and also the angles made by line 3-4 as it crosses the radiating lines above 1-2. With a small mass at 11 to make the balance right, you have a basis for a composition, Diagram C, not at all unpleasing in arrangement, although based on a group of discordant lines drawn at random, but brought into harmony by means of sympathetic radiation. [Illustration: Plate XL. THE ASCENSION OF CHRIST. BY DOMINICO THEOTOCOPULI CALLED EL GRECO. Note the flame-like form and flow of the light masses, and the exalted feeling this conveys. _Photo Anderson_] [Illustration: Plate XLI. THE BAPTISM OF CHRIST. BY DOMINICO THEOTOCOPULI CALLED EL GRECO Another example of his restless, flame-like composition. _Photo Anderson_] In Panel D the same group is taken, but this time line 3-4 is used as the dominant one. Line 7-8 introduces 3-4 to 1-2, as it is related to both. Lines 9-10 and 11-12 introduce 3-4 to 5-6, as they are related to both, and the others follow on the same principle. By introducing some masses covering up the crossings, a rhythmic basis for a composition (Diagram E) entirely different from C is obtained, based on the same random group. In Panel F, 1-2 has been taken as the dominant line, and sympathetic lines drawn on the same principle as before. By again covering the crossings and introducing balancing masses we obtain yet another arrangement from the same random scribble. I would suggest this as a new game to students, one giving another two or three lines drawn in a panel at random, the problem being to make harmonious arrangements by the introduction of others radiating in sympathy. Often in a picture certain conditions are laid down to start with; something as ugly as our original group of lines drawn at random has to be treated pictorially, and it is by means such as here suggested that its discordancy can be subdued and the whole brought into harmony with the shape of your panel. The same principles apply in colour, discordant notes can be brought into harmony by the introduction of others related to both the original colours, thus leading the eye from one to the other by easy stages and destroying the shock. Somewhat in the way a musician will take you from one key into another very remote by means of a few chords leading from the one to the other; whereas, had he taken you straight there, the shock would have been terrible. As it is, these transitions from one key into another please and surprise one, and are very effective. [Illustration: Diagram XVIII. SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONY BY THE