RERAMIC STUDIO 
87 
I&. M 
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FigB^ Byzantine 
viz: if the lines or edges were extended thej^ would drop into 
the direction of the other marked with same letter, thereb}^ 
producing harmony of movement. 
This movement or consistency is of utmost importance in 
ever,y work of art and is readily understood by the successful 
artist and designer, but to the student it is a matter of search- 
ing. Let us test its existence b}^ considering Millet's " Potato 
Planting" Fig. vi. The main shapes, the man and woman are 
finely placed on the canvas. The man jvist a little to the left of 
the center, the woman much farther to the right. The action 
of the two unites in the process of planting. This point is again 
near the center of the canvas. Then see how the main line of 
the picture circles about this point, beginning at the heel of the 
man's left foot, passing over his back and hat across the inter- 
vening space to the woman's head, down her figure and ending 
where her left foot touches the ground. How big and sweeping 
the moveuient is. Throughout its length it expresses truth of 
form but ignores all detail. It models the forms stronger and 
more truthful than a camera could do it, because in its severity 
it can consider only the essentials that make a figure. The 
shape of the tree repeats with sHght variation this movement. 
The horizontal lines of the distance and foreground are a play 
on the horizontal edge of the canvas, while the vertical move- 
ment is expressed in the lines of the man's legs, tree trunk and 
edges of woman's dress. This dehghtful plaj^ of one line into 
some answering line can hardly be expressed in words any more 
than a harmony of sounds can be described. It naist be felt. 
Once the judgment can discern this related quality, it gives the 
mind increased power of enjoyment. In every design look to it 
that the parts seem to flow one into the other and that the 
structural lines of the object control to some extent this action. 
Wherever a small projection can be lopped off so as to make the 
FIG. VI— MILLET'S " POTATO PLANTING." 
