SCIENCE AND PHILOSOPHY IN ART 355 
their pictures are masses of short, straight lines, and all their 
effects are produced in this way. Curved lines are only em¬ 
ployed when it is desired to express the idea of retardation, 
and when curves are used, they are formed of short, straight 
lines, much as in modern geometrical teachings, a circle is 
held to be formed of innumerable straight lines. 
The right angle of the triangle, which includes all the ele¬ 
ments of the picture, falls sometimes outside the canvas. The 
hypotenuse, however, is never absent. Without it, there could 
be no basis for the composition. Sometimes the right angle 
of the triangle is occupied with the most prominent objects 
of the painting, and to these the focal point of vision is directed. 
No. 184, “The Setting Sun,” by Monet, is a conspicuous ex¬ 
ample of this. The focal point of vision is thrown entirely to 
the left, where are seen the coast line and the setting sun; to 
the right is a vast expanse of sea. A mistiness pervades the 
picture; the sky and sea blend to shut off forever from the 
soul the knowledge of what lies beyond. 
Another extraordinary picture is No. 198, “Fog Effect near 
Dieppe.” The sandy bank and trees are to the right. The 
technique and coloring of these trees are startling; straight 
lines mark the canvas, reproducing this mood of nature with 
a masterly insight. The sea dashes with violence against the 
coast. A faint light shines through the waves, and the foam 
rests on their proud, crested heads, like a bridal wreath. On 
just such a coast-line might life have originated, as the sport 
of accident, by the cruel sea, indifferent to the origin, progress, 
and destiny of this life to which she had given birth. The 
color-tints of pinks and grays delineate the outlines. 
Monet’s pictures are noticeable for the psychological effect 
they produce by their coloring. His colors are like an orchestra 
of instruments in perfect tune, and the pitch of his scale is 
given by the foundation tone of his pictures. 
On close examination, it would be reasonable to conclude 
that the canvases were first coated by a uniform tint of paint; 
this is the pitch to which all the other colors are tuned, and 
the different effects in his pictures are produced by heavy 
straight lines of suitable colors, according with the pitch. 
