"Hypatia," but it could just as well be somebody else. Simple folks represented at some occupation like Figs. 102 and 108 are mildly effective. The people represented are not particularly picturesque or interesting and are helped by the accessories that explain the reason of their existence. Genre studies and story-telling pictures like 67, 80, and 101, have the true picture quality, but one-figure compositions are apt to look like still life, unless they contain some dramatic or poetic element like 80, 95, 96, and 103. Mrs. G. Kasebier's well known "The Manger," is treated in a decorative way like Robert Demachy's 91.

SPANISH DANCER. (Fig. 113) Robert Henri.

On the placing of the figure I have talked in previous chapters and I have nothing further to add, at least in regard to onefigure composition. What we have to analyze more carefully are those elements that enter into composition aside from the placing of the figure and the arrangement of lines and masses. The most important of them is "the relation of values."

A correct rendering of values consists of giving each object, plane, and defined shape that special tint or tonal gradation which expresses best their color and texture and to bring them into an harmo

nious relation with all the other monochrome effects of the picture. Every picture is cut up into numerous shapes of different tonality. Look for instance at Bessie Buehrmann's "Trying on an Old Gown" (Fig. 106), and at Diag. 48, in which I have tried to analyze figure and background into its various elements of lightness and darkness. The highest light effect occurs in plane one. It is nowhere repeated. Four which represents a large area comes nearest to it in lightness, but is not as valuable as accents as two and three which are just a trifle lower in key. Plane three balances the "bunched" composition of the upper left corner, in which the curtain plays an important part. Almost everything might be changed in the composition, but it could not get along without the curtain. The middle tint is furnished by the wall and settee to the right, planes seven and twelve, and supplemented in a vague manner by eleven. Nine, the dark part of the composition, is skilfully balanced by ten on the other side of the figure and by thirteen. The monotony of twelve is broken by the frame five and the reflected image in the mirror. Six, which is really the point of interest in this picture, is praiseworthy for the subdued way in which it is handled. Eight furnished the one deep note of small dimensions vaguely repeated in thirteen. Planes one, three, four, and eight with the help of the curtain and the

well defined large areas of lightness and darkness, nine and seven, twelve, make the picture and the successful silhouette of the figure, but brilliancy and a higher pictorial quality was only gained by the introduction of the four small

but animated planes of fourteen, six, five, and thirteen, which show a variety of minor tonal gradations.

"The Flute Player," by Dumont (Fig. 101), is one of the ablest photographic genre studies I have ever come across. It is perhaps a trifle too much in profile, but that was undoubtedly the easiest way to manage a variety of detail. He placed the strongest light on the objects of the table, Diag. 47. Planes one, two, and three are all lighter than the face and hand. Even the shirtsleeve five is lighter. This arrangement gives a beautiful tonal effect to the face and hand, five and six. The rest is of the picture is kept up very much in

(Diag. 49)

"Tuesday," Fig. 108. There were the woman and the wash basket, they were separated and had to be combined. Nothing was more natural than to do this by the ironing board. As both