[Illustration:  Plate XXX.

A STUDY FOR A PICTURE OF “ROSALIND AND ORLANDO”

Ros. “He calls us back; my pride fell with my fortunes.”]

It is proposed to treat the subject from the material side of line and tone only, without any reference to subject matter, with the idea of trying to find out something about the expressive qualities line and tone are capable of yielding unassociated with visual things.  What use can be made of any such knowledge to give expression to the emotional life of the artist is not our concern, and is obviously a matter for the individual to decide for himself.

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There is at the basis of every picture a structure of lines and masses.  They may not be very obvious, and may be hidden under the most broken of techniques, but they will always be found underlying the planning of any painting.  Some may say that the lines are only the boundaries of the masses, and others that the masses are only the spaces between the lines.  But whichever way you care to look at it, there are particular emotional qualities analogous to music that affect us in lines and line arrangements and also in tone or mass arrangements.  And any power a picture may have to move us will be largely due to the rhythmic significance of this original planning.  These qualities, as has already been stated, affect us quite apart from any association they may have with natural things:  arrangements of mere geometrical lines are sufficient to suggest them.  But of course other associations connected with the objects represented will largely augment the impression, when the line and tone arrangements and the sentiment of the object are in sympathy.  And if they are not, it may happen that associations connected with the representation will cut in and obscure or entirely destroy this line and tone music.  That is to say, if the line and tone arrangement in the abstract is expressive of the sublime, and the objects whose representation they support something ridiculous, say a donkey braying, the associations aroused by so ridiculous an appearance will override those connected with the line and tone arrangement.  But it is remarkable how seldom this occurs in nature, the sentiment of the line and tone arrangements things present being usually in harmony with the sentiment of the object itself.  As a matter of fact, the line effect of a donkey in repose is much more sublime than when he is braying.

[Sidenote:  Unity and Variety.]

There are two qualities that may be allowed to divide the consideration of this subject, two points of view from which the subject can be approached:  #Unity# and #Variety#, qualities somewhat opposed to each other, as are harmony and contrast in the realm of colour.  Unity is concerned with the relationship of all the parts to that oneness of conception that should control every detail of a work of art.  All the more profound qualities, the deeper emotional notes, are on this side of the subject.  On the other hand, variety holds the secrets of charm, vitality, and the picturesque, it is the “dither,” the play between the larger parts, that makes for life and character. #Without variety there can be no life#.