viating factor, is to experience a sense of displeasure at the first glance. If what we are to gaze upon is not thrust at us, but has treatment of refinement all through and about it, comes playfully forward, offers itself with reserve, we are fascinated.
Comparing Figures 116 and 117 these qualities are found to exist in Fig. 116. Each playful line and tone sings away the material rendering of the plain photo-likeness and makes the picture alive with merriment. Nature forms a smile with curves. What artist would not take the hint from this expressive face and bring the other shapes into harmony with it? The hat, for instance, in Fig. 117, is as expressionless as any still life, not a form is lifted out of inertia and yet a touch of the hand will make these lines laugh with the face. The treatment in Fig. 116 shows an enlargement of curve into curve, all so made that their natural centre would be the eyes. In Fig. 117 the face is separated from its background by a density of tone inconsistently serious. It is further made matter-of-fact by the obtrusiveness of its margins. In Fig. 116 both objectionable con ditions have been removed; the face holds some of the light of the picture and the background softly supports its forms with tones. All about the head are intro duced foils in the shape of curved lines of varying strength. They are measured to fit the expression. Seriousness is manifest in the forms of the body in Fig.