CHAPTER II. 



UNITY. 



Every yard should be a picture. That is, the area should 

 be set off from every oilier area, and it should liave such a 

 character that the observer catches its entire effect and pur- 

 pose without stopping to analyze its parts. The yard should 

 be one thing, one area, with every feature contributing its 

 part to one strong and homogeneous effect. L. H. Bailey. 



Pictorial composition may be defined as the proportion- 

 ate arranging and unifying of the different features and 

 objects of a picture. . . . There must be an exercise of 

 judgment on the part of the artist as to fitness and position, 

 as to harmony of relation, proportion, color, light; and there 

 must be a skilful uniting of all the parts into one perfect 

 whole. John C. Van Dyke. 



Unity and colierence are not quite synonymous, yet 

 the ideas are very closely related, and in any extensive 

 composition are practically inseparable. Thus a number 

 of objects of exactly the same sort placed together would 

 undoubtedly secure unity without any effort for coher- 

 ence ; but several dissimilar objects may also be assem- 

 bled in satisfying unity if, by some obvious relation or 

 natural connection, they readily cohere. 



Unity in any landscape composition means that 

 some one idea shall prevail throughout, and that all 

 details shall be subordinate to it. Some particular style 

 of expression must be determined upon and consistently 

 adhered to; and the chosen style must not be varied 

 except, within wide limits of space. Every item of the 

 composition, then, must contribute to the perfection of 

 the predominant style, or must be vigorously expurged, 

 no matter what its individual excellence. 



Unity is not to be realized unless the entire con- 

 struction is under control of one mind, and this one 

 directing mind must not only have a perfectly clear and 



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