360 LITERARY PAPERS 



fence back of the road, the trunks of the trees, the lights and 

 shadows, the rising ground, the outline of the roofs against 

 the sky, and the clouds, all follow the direction of the hypo- 

 tenuse. The visual focus is, as usual, dissymmetrical, and in 

 the diagonal. It is to the left of the centre of the scene. The 

 strong sunlight pouring down upon the side of the farm-house, 

 and the intense shadows of the trees upon it, all indicate energy, 

 the very power of the cosmic forces themselves. The reddish- 

 orange color of the roof contrasted with the sky gives to the 

 latter a greenish tinge, which adds to the color harmony of 

 the whole. The two sides of the picture differ as to intensity 

 of coloring and distinctness of form, and in these respects 

 further illustrate the dissymmetrical principles which underlie. 



Monet's Nos. 270, " Poppies in Bloom," and 212, ''Land- 

 scape at Giverny," are companion pictures, inasmuch as one 

 is the continuation of the other, and an expression of philo- 

 sophical thought. The prevailing color-tones of the two pic- 

 tures are brilliant reds and peculiar bluish-greens. Attention 

 was called above to this color rule, as being used in what are 

 most properly the highest philosophical studies of this artist. 

 As art expressions of scientific and philosophical thought, 

 these two pictures occupy the most prominent place of any 

 in the collection. 



No. 270 is the best illustration of the theory of triangula- 

 tion to be found in Monet's pictures. From the foreground 

 and running diagonally from left to right is the poppy-field, 

 and the ground rising above it forms a green, grassy amphi- 

 theatre, closing out from sight all objects beyond the fore- 

 ground, thus inviting to progress. The narrow expanse of sky 

 is seen above the hilly bank. Its depth is interminable, and 

 a sense of solemnity steals over the observer. He is brought 

 most terribly near the source and origin of things. The sky 

 is in marked contrast to the poppy-field and hill, where it is 

 the present that offers. Here is the beginning of life's course. 

 Unconscious of what is back of the hill, the soul is absorbed 

 by the immediate; though she may step forward, through the 

 gay- flowered field, onward to her future, the past is locked 

 in mystery. Nature throws no obstacle to her progress; there 



