Photography : Its Possibilities in the Art- Field. 



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drawn in perspective, so as to produce a line running at an 

 acute angle across the picture ; the soldiers fighting are one 

 mass of acute angles. Not a single tree in the middle distance 

 is left in a perfectly perpendicular position, all are more or 

 less leaning, one way or the other, to bring them in harmony 

 with the fight going on in the foreground. 



A glance at Gerome's " Golgotha," one of the great works 

 of modern times. Here, great masses of dark clouds, whose 

 forms and lights all run in angular directions, produce a most 

 threatening sky. The shadows of the crosses fall upon the 

 foreground in acute angles, suggesting very forcibly, the 

 cruel deed just done. Had these shadows been made to fall in 

 horizontal lines, suggesting repose, peace, they would have 

 failed to express what Gerome here so thoroughly conveys — 

 Christ still living, still suffering intensely on the cross. So 

 were the malefactors at His side. Again we see these angles 

 express force, aggression, action, violence. 



In Munkacsy's " Christ Before Pilate," the figure of the 

 soldier is one of great interest, as it represents in the stand- 

 ing position (the vertical form), dignity, strength, endurance, 

 while the spear, in a horizontal position, suggests repose. 

 This means that no mob violence is to be feared — that one 

 soldier will maintain order, law, respect. Had the artist put 

 the spear at an angle of forty-five degrees, it would have 

 meant that violence was about to be attempted, and the im- 

 mediate use of the weapon was demanded. Had the painter 

 put the spear in a vertical position, it would have suggested 

 respect only. The soldier presenting arms, when a superior 

 officer passes, holds his weapon, gun or sword, in a vertical 

 position. 



These facts, as stated and demonstrated, are not my 

 individual interpretations ; nor are they the conventional 

 opinions of' any one class, or set of men, artists or critics. 

 They are simply the meanings of nature, expressed through 

 the manifold forms, lines and colors found in the whole uni- 

 verse. From these sources the poet painter draws his inspi- 

 ration — with this language all true art works must be com- 

 posed — through this language only can they be understood — 

 by the light of this language alone must they be judged. 

 The general application of this knowledge in the affairs of 



