study, inasmuch as while its general type is very simple and
constant, for this very reason the slightest variations are
sharply felt, and have their very strongest characteristic
effect. The general type of the portrait composition is, of
course, the triangle with the head at the apex, and this point
is also generally in the central line; nevertheless, great
richness of effect is brought about by emphasizing variations.
For instance, the body and head are, in the great majority of
cases, turned in the same way, giving the strongest possible
emphasis to the direction of attention,--especially powerful,
of course, where all the interest is in the personality. But
it is to be observed that the very strongest suggestion of
direction is given by the direction of the glance; and in no
case, when most of the other elements are directed in one way,
does the glance fail to come backward. With the head on one
side of the central line, of course the greatest interest is
removed to one side, and the element of direction is brought
in to balance. Again, with this decrease in symmetry, we see
a significant increase in the use of the especially effective
elements, vista and line. In fact, the use of the small deep
vista is almost confined to the class with heads not in the
middle. The direction of the glance also plays an important
part. Very often the direction of movement alone is not
sufficient to balance the powerful M.+I. of the other side,
and the eye has to be attracted by a definite object of interest.
This is usually the hand, with or without an implement,--like
the palette, etc., of our first examples,--or a jewel, vase,
or bit of embroidery. This is very characteristic of the
portraits of Rembrandt and Van Dyck.