LIGHT AND SHADE
people. Photography with its imitation of the round forms of nature does not lend itself easily to other than the pictorial treatment.
Notice the pictorial development of Fig. 118. In decorative art the background space above the hat would be made as beautiful as any other part of the picture; its degree of importance would not be second ary to the face or figure. In pictorial art such back ground portions should be only relatively beautiful because they are supporting elements. In portraiture we seek entrance into the portrayed one's personality through his eyes. Light and shade must animate the light spots or dark spots that will lead our interest to that point of attraction. In Fig. 118 the eyes are less prominent than the lace, and no more animated. Turn ing to the portrait Fig. 119 we meet at once the woman's gaze and are held by it, though we are conscious of the rich setting of the entire picture. How this is accom plished is explained in Fig. 20 and its principle. In Fig. 118 the flesh is an irregular light mass in which the neck and shoulders outweigh the head. In our effort to draw attention to the eyes we must counteract the large light effect below the head and carry the interest upward by placing a balancing light above. This is done in the hat, Fig. 119. Then we play a delicate light circle-wise from this spot, still making use of the hat, around to the eyes. The result is an expression of composure