design, as a whole, therefore, is imperfect. And, though we see much in the picture, we do not see it entirely with ease.
If we turn to "Derby Day," facing this page, a drawing by the English artist, Thomas Rowlandson, we shall find a more interesting design and a surer control of accents. Here the basic theme is a long line. By "line" in this case we mean, not merely a single stroke of the pencil, but any succession of lines, shapes, or even spots, so arranged that they make a track for the eye to follow. In "Derby Day" the long swinging line of the road is the basis of the design. Yet this line is not quite identical with the wheel tracks. It begins, in fact, with the feet of the donkey at the lower right-hand corner of the frame, and follows through the dog, the baskets under the wagon, the hub of the wheel, then over the heads of the group, through the hubs of the third wagon, then with a slight downward drop it swings along the edge of the field and the hedge, and finally leads through the horses and wagons, out at the left end of the picture.
Upon this line the whole design is built, and rather cleverly, too, for our attention is controlled by the subtle ordination of accents. At the right end of the line is the most unusual and striking shape in the picture, namely, the curved figure described by the wagon-cover and the wheel. Such a strange shape, as we have pointed out earlier in this chapter, has a strong attraction for the eye, and in this picture marks emphasis Number One. Emphasis Number Two occurs near the middle of the road at the turn, where four or more lines meet to form a cross. These lines are produced by the basic line already described, by the conspicuous
