ART PRINCIPLES IN PORTRAIT PHOTOGRAPHY
jects itself into another, its fundamental principle is to be kept intact. To take a panel painted by Cha-vannes from its place in the Boston Public Library and, framing it, incorporate it in another building would be to injure the painting, to entirely pervert its meaning and purpose and to weaken its beauty.
An easel picture may and often should possess deco rative qualities, thus fusing sobering science with the more emotional pictorial element. Figures 90 and 91 are examples.
The pictorial photograph shares with the easel pic ture these qualities. Like any well-blanced pictorial composition it may be placed upon the wall and it will "hold" at any distance. The artistic photographic rendering,-Fig. 96, will be pleasingly effective upon the wall, but its plain prototype, -Fig. 93, would be a strain to our vision if seen at a distance. Whatever value it has lies in its detail ran in the fineness of its texture. inviting close study.
To understand still better the difference between the decorative and the pictorial principles we will ex amine the elements that compose each.
The panel A represents light and dark; all the
tints are flat. Placed in a picture they maintain their
flatness and through their agency decoration is.brought
In panel B a gradation of tone called "light and