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288                                   C 0 M P 0 S I T I ON.
   3. However it Illay be that emulation of the broad and general impressions
of Nature, as they
most forcibly affect the mind or excite the imagination, rather than the
abstract and material
elements which combine to produce such effects, form the higher purposes
of art-as the means
of its expression are, as in Nature, by combinations of subordinates, a thorough
comprehension of
and command over all such subordinates becomes absolutely necessary to the
artist; this compre-
hension and command extending, not only to theoretical knowledge of their
natures, and power
of service to the purposes of art, but likewise to a masterly control over
them in their practical
application.
   4. In the composition of a work of design, is understood to comprise its
entire arrangement;
and involves, according to the extent of its intention, whether in reference
to desired effect, or
method, or materials employed, its general outline -grouping-effect of light
and shadow-
expression - color, etc., all harmoniously agreeing together, all directly
bea ring upon its motive or
subject, and combining to convey an effective and agreeable as well as obvious
impression thereof.
   5. The first requisite, therefore, of a composition is that it should
tell its.~story.  it matters
not how exalted or how insignificant its motive may be, on this point there
should be no grounds
for doubt or question.  The humblest bit of still-life that may be selected-a
book upon the table
-a fruit, or flower-a weed, or tree-a rock, or mountain-a glass of water,
or a lake or river-
a rippling brook, or a foaming cataract-a head, a limb, or a figure-anything-singly
or com-
bined, whether in their natural arrangement, or artistically con~iposed as
principals or subordinates
in ideal creations-may be motives or subjects of a composition, so long as
they preserve primary
importance therein, and form by the scale of their significance and value
that of the art which
may attempt their representation.  The feeblest effort of a child to imitate
upon his slate an object
which he sees, remembers, or imagines, and the most sublime and successful
achievements of
cultivated genius, differ only in ambition of attempt and amount of capacity
exercised.
   6. What story, it may be asked, has a bit of still-life, a portrait, or
a landscape-view, to tell
beyond that which it brings with its presence to the artist?  What composition
or further arrange-
ment is required? Do not the subjects themselves afford all the composition
ready to his hand?
What else is there for him to do than faithfully to imitate that which is
before him?
   Let us take the table before us, in its confusion of books and drawings,
papers, pens, and com-
monplace conveniences, of an artist's studio.  Not a very promising or interesting
subject for a
picture, it must be admitted; but for a tempting basket of freshly-gathered
boughs of fruit, which