[Illustration:  FIG. 58 C. D. M.]

[Side note:  An Architectural Problem]

To favorably illustrate an architectural subject it will be found generally expedient to give prominence to one particular elevation in the perspective, the other being permitted to vanish sharply.  Fig. 58 may be said to be a fairly typical problem for the architectural penman.  The old building on the right, it must be understood, is not a mere accessory, but is an essential part of the picture.  The matter of surroundings is the first we have to decide upon, and these ought always to be disposed with reference to the particular form of composition which the subject may suggest.  Were we dealing with the foreground building alone there would be no difficulty in adjusting the oval or the diamond form of composition to it.* As it is, the difficulty lies in the long crested roof-line which takes the same oblique angle as the line of the street, and the influence of this line must be, as far as possible, counteracted.  Now the heavy over-hang of the principal roof will naturally cast a shadow which will be an important line in the composition, so we arrange our accessories at the right of the picture in reference to this.  Observe that the line of the eaves, if continued, would intersect the top of the gable chimney.  The dwelling and the tree then form a focus for the converging lines of sidewalk and roof, thus qualifying the vertical effect of the building on the right.  As the obliquity of the composition is still objectionable, we decide to introduce a foreground figure which will break up the line of the long sidewalk, and place it so that it will increase the influence of some contrary line, see Fig. 59.  We find that by putting it a little to the right of the entrance and on a line with that of the left sidewalk, the picture is pleasingly balanced.

[Footnote *:  See footnote on page 62.]

[Illustration:  FIG. 59 C. D. M.]

We are now ready to consider the disposition of the values.  As I have said before, these are determined by the scheme of light and shade.  For this reason any given subject may be variously treated.  We do not necessarily seek the scheme which will make the most pictorial effect, however, but the one which will serve to set off the building to the best advantage.  It is apparent that the most intelligible idea of the form of the structure will be given by shading one side; and, as the front is the more important and the more interesting elevation, on which we need sunlight to give expression to the composition, it is natural to shade the other, thus affording a foil for the bright effects on the front.  This bright effect will be further enhanced if we assume that the local color of the roof is darker than that of the walls, so that we can give it a gray tone, which will also make the main building stand away from the other.  If, however, we were to likewise assume that the roof of the other building were darker than its walls, we