The other form accentuated by the line arrangement is the oval of the face.  There is the necklace the lines of which lead on to those on the right in the reflection.  It is no mere accident that this chain is so in sympathy with the line of the face:  it would hardly have remained where it is for long, and must have been put in this position by the artist with the intention (conscious or instinctive) of accentuating the face line.  The line of the reflection on the left and the lines of the mirror are also sympathetic.  Others in the folds of the dress, and those forming the mass of the hands and arms, echo still further this line of the face and bring the whole canvas into intense sympathetic unity of expression.

The influence that different ways of doing the hair may have on a face is illustrated in the accompanying scribbles.  The two profiles are exactly alike—­I took great trouble to make them so.  It is quite remarkable the difference the two ways of doing the hair make to the look of the faces.  The upward swing of the lines in A sympathise with the line of the nose and the sharper projections of the face generally (see dotted lines), while the full downward curves of B sympathise with the fuller curves of the face and particularly emphasise the fullness under the chin so dreaded by beauty past its first youth (see dotted lines).  It is only a very sharply-cut face that can stand this low knot at the back of the head, in which case it is one of the simplest and most beautiful ways of doing the hair.  The hair dragged up high at the back sharpens the lines of the profile as the low knot blunts them.

[Illustration:  Diagram XXI.

ILLUSTRATING THE EFFECT ON THE FACE OF PUTTING THE HAIR UP AT THE BACK.  HOW THE UPWARD FLOW OF LINES ACCENTUATES THE SHARPNESSES OF THE FEATURES.]

[Illustration:  Diagram XXII.

ILLUSTRATING THE EFFECT ON THE SAME FACE AS DIAGRAM XXI, OF PUTTING THE HAIR LOW AT THE BACK.  HOW THE FULLER LINES THUS GIVEN ACCENTUATE THE FULLNESSES OF THE FEATURES.]

The illustrations to this chapter have been drawn in diagrammatical form in order to try and show that the musical quality of lines and the emotions they are capable of calling up are not dependent upon truth to natural forms but are inherent in abstract arrangements themselves.  That is to say, whenever you get certain arrangements of lines, no matter what the objects in nature may be that yield them, you will always get the particular emotional stimulus belonging to such arrangements.  For instance, whenever you get long uninterrupted horizontal lines running through a picture not opposed by any violent contrast, you will always get an impression of intense quiet and repose; no matter whether the natural objects yielding these lines are a wide stretch of country with long horizontal clouds in the sky, a pool with a gentle breeze making horizontal bars on its surface, or a pile of wood in a timber yard.  And whenever