indeed, the contemplative attitude is still more marked. On the
other hand, such pictures as the "Descents," the "Annunciations,"
and very many of the miscellaneous religious, allegorical, and
genre pictures, portray a definite action or event. Now the
pyramid type is characteristic of the "contemplative" pictures
in a much higher degree. A class which might be supposed to
suggest the same treatment in composition is that of the portraits,
--absolute lack of action being the rule. And we find, indeed,
that no single type is represented within it except the pyramid
and double-pyramid, with eighty-six per cent. of the former.
Thus it is evident that for the type of picture which expresses
the highest degree of quietude, contemplation, concentration,
the pyramid is the characteristic type of composition. Among
the so-called "active" pictures, the diagonal and V-shaped types
are most numerous.

The landscape picture presents a somewhat different problem. It
cannot be described as either "active" or "passive," inasmuch as
it does not express either an attitude or an event. There is no
definite idea to be set forth, no point of concentration, as
with the altar-pieces and the portraits, for instance; and yet
a unity is demanded. An examination of the proportions of the
types shows at once the characteristic type to be here also the
diagonal and V-shaped.

It is now necessary to ask what must be the interpretation of
the use of these types of composition. Must we consider the
pyramid the expression of passivity, the diagonal or V-shape, of
activity? But the greatly predominating use of the second for
landscapes would remain unexplained, for at least nothing can