64 
KERAMIC STUDIO 
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FIG. VII-LANDSCAPE— Bt Corot. 
tiful variations of the horizontal edges of the canvas. Thej^ 
sweep from one side of the canvas to the opposite; now clearly 
defined, now hidden, but always felt. The vertical movement 
of the trees echoes the vertical sides. The contour of the trees 
and diagonal movement of the stream act as a variation on the 
horizontal and vertical, but growing out of and in perfect har- 
mony with them. This is the language of line which exists in 
nature but is revealed only to the trained mind. Again, the 
dark and light distribution of these areas makes an agreeable 
spotting of the canvas. The large dark mass of foliage on the 
left, the answering group of trees to the right with the dark of 
the foreground and distance makes a series of dark spots inter- 
related. The same is true of the light shapes. The sky space 
as the large area supported by two secondary spaces of the 
water and sky showing through openings between the trees. 
This arrangement is further augmented by flecks of light 
throughout the dark masses. Although this distribution of 
light and dark spaces produces a distinct kind of beauty, the 
technique that is to transform the shapes into trees, sliy, water,a 
boat, is of vital importance. The laws of composition can with 
diligent application be mastered in a comparatively short time, 
but to acquire this individual way of interpreting nature and 
power to express the same is a life problem. Hence artists 
never cease to be students. 
In the Ca Doro on the Grand Canal, Venice (Fig. viii) we 
have a similar problem as far as composition is concerned, to 
the landscape by Corot. In this facade however the element of 
truth does not enter unless we consider construction as such. 
Roughly speaking the facade forms a rectangle whose surface is 
broken up by vertical, horizontal and curved Lines producing 
areas of excellent proportion and harmony. Within the limi- 
tations of construction, these lines and areas produce an eye 
music equal to that of the Corot landscape. See the difference; 
one adds the element of truth, the other does not, and yet both 
are monuments of art. 
On analyzing the Ca Doro or Palace of Gold, we find two 
horizontal lines marking the stories. The distances between 
these are of unequal widths to give variety. One vertical line 
is placed a little to the right of the middle thereby making 
further variations. The areas to the right of this line are broad, 
flat and restful, while those to the left have many openings. 
Thus the principle of " vmequal areas, well related," is employed. 
In the balconies and cornice the principle of linear repetition is 
used. In the section to the right of the vertical line that of 
symmetry is engaged. So much for line. The spotting is no 
less beautiful. Well considered flat surfaces stand for the hght 
while balcony opening, doors and windows represent the dark. 
The point I wish to make is that composition or laws of arrange- 
ment must be the foundation of all art expression whether they 
have the element of truth or not. 
Like line the principle of dark and light is of universal ex- 
pression; a dark book on a light table, a dark barn against a 
FIG. VIII-CA DORO ON THE GRAND CANAL, VENICE. 
