have the circular lines of the arches behind, curves possessed of the least possible amount of variety and therefore the calmest and most reposeful; while the horizontal lines of the steps and the vertical lines of the throne and architecture, and also the rows of hanging beads give further emphasis to this infinity of calm.  But when we come to the figures this symmetry has been varied everywhere.  All the heads swing towards the right, while the lines of the draperies swing freely in many directions.  The swing of the heads towards the right is balanced and the eye brought back to equilibrium by the strongly-insisted-upon staff of St. Nicholas on the right.  The staff of St. John necessary to balance this line somewhat, is very slightly insisted on, being represented transparent as if made of glass, so as not to increase the swing to the right occasioned by the heads.  It is interesting to note the fruit introduced at the last moment in the right-hand lower corner, dragged in, as it were, to restore the balance occasioned by the figure of the Christ being on the left.  In the writer’s humble opinion the extremely obvious artifice with which the lines have been balanced, and the severity of the convention of this composition generally, are out of harmony with the amount of naturalistic detail and particularly of solidity allowed in the treatment of the figures and accessories.  The small amount of truth to visual nature in the work of earlier men went better with the formality of such compositions.  With so little of the variety of life in their treatment of natural appearances, one was not led to demand so much of the variety of life in the arrangement.  It is the simplicity and remoteness from the full effect of natural appearances in the work of the early Italian schools that made their painting such a ready medium for the expression of religious subjects.  This atmosphere of other-worldliness where the music of line and colour was uninterrupted by any aggressive look of real things is a better convention for the expression of such ideas and emotions.

[Illustration:  Diagram XXVIII(1).

A, D, G]

[Illustration:  Diagram XXVIII(2).

B, E, H]

[Illustration:  Diagram XXVIII(3).

C, F, I]

In B and C the proportions of the third and the quarter are shown, producing the same static effect as the half, although not so completely.

At D, E, F the same number of lines and spots as we have at A, B, C have been used, but varied as to size and position, so that they have no obvious mechanical relationship.  The result is an expression of much more life and character.

At G, H, I more lines and spots have been added.  At G they are equidistant and dead from lack of variety, while at H and I they are varied to a degree that prevents the eye grasping any obvious relationship between them.  They have consequently a look of liveliness and life very different from A, B, C, or G. It will be observed that as the amount of variety increases so does the life and liveliness of the impression.