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It is the tone quality accompanying the song, the subject’s reliance for balance and contrast. An inquiry into the statement that the accessories of the subject demand a higher degree of artistic skill than the painting of the subject itself, and that on these accessories depend the carrying power of the subject, leads directly to the principles of composition.
Gazing upon those who sleep beneath the gravestones, embosomed in the dust, could one ever distinguish the sovereign’s crumbling skull from the subject’s mouldering bones? Nay, by Him Who is the King of kings! Could one discern the lord from the vassal, or those that enjoyed wealth and riches from those who possessed neither shoes nor mat? By God!
There are three types of group composition; first, where the subject’s interest is centred upon an object or idea within the picture as in “The Cabaret” or Rembrandt’s “Doctors” surrounding a dissecting table; second, where the attraction lies outside the picture as in the “Syndics” or the “Night Watch,” and third, where absolute repose is expressed and the sentiment of reverie has dominated the group, as in “The Madonna of the Chair,” and the ordinary family photograph.
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