cloak which envelops the kneeling donors. But still more
salient is the diamond form given by the descending rows of
these worshiping figures, especially against the dark background
of the Madonna's dress. A second example, without the pyramid
backing, is found in Rubens's "Rape of the Daughters of
Leucippus," in the Alte Pinakothek at Munich. Here the diamond
shape formed by the horses and struggling figures is most
remarkable,--an effect of lightness which will be discussed
later in interpreting the types.

A third type, the diagonal, is given in an "Evening Landscape"
by Cuyp, in the Buckingham Palace, London. High trees and
cliffs, horsemen and others, occupy one side, and the mountains
in the background, the ground and the clouds, all slope
gradually down to the other side.

It is a natural transition from this type to the V-shape of the
landscapes by Aart van der Neer, "Dutch Villages," in the London
National Gallery and in the Rudolphinum at Prague, respectively.
Here are trees and houses on each side, gradually sloping to
the centre to show an open sky and deep vista. Other examples,
of course, show the opening not exactly in the centre.

In the "Concert" by Giorgione, in the Pitti Gallery, Florence,
is seen the less frequent type of the square. The three
figures turned toward each other with heads on the same level
make almost a square space-shape, although it might be said
that the central player gives a pyramidal foundation. This
last may also be said of Verrocchio's "Tobias and the
Archangels" in the Florence Academy, for the square, or other