objectionable on account of its mass of low tone, is similarly
treated. Mr. Gregg's excellent handling of the old woodwork of the
porch is well worthy of study.

[Side note: _Second Problem_]

Let us take another example. The photograph in Fig. 37 shows a
moat-house in Normandy; and, except that the low tones of the foliage
are exaggerated by the camera, the conditions are practically those
which we would have to consider were we making a sketch on the spot.
First of all, then, does the subject, from the point of view at
which the photograph is taken, compose well?* It cannot be said that
it does. The vertical lines made by the two towers are unpleasantly
emphasized by the trees behind them. The tree on the left were
much better reduced in height and placed somewhat to the right,
so that the top should fill out the awkward angles of the roof
formed by the junction of the tower and the main building. The
trees on the right might be lowered also, but otherwise permitted
to retain their present relation. The growth of ivy on the tower
takes an ugly outline, and might be made more interestingly irregular
in form.

[Footnote *: The student is advised to consult "Composition," by
Arthur W. Dow. [New York, 1898]]

[Illustration: FIG. 37 FROM A PHOTOGRAPH]

The next consideration is the disposition of the values. In the
photograph the whites are confined to the roadway of the bridge
and the bottom of the tower. This is evidently due, however, to