tree, and by the hedge which runs up to it from the left side of the bottom frame. Here again are illustrated visual laws already discussed. The third emphasis in this picture is where the road runs out on the left, our eyes being drawn in that direction by the familiar device of converging lines. Observe that the mass of trees in the background forms a distinct wedge with the point toward the left, that the wagon train itself tapers sharply, that the three trees along the road are successively smaller toward the left, and that the field on that side of the road tapers somewhat in the same direction. The combined effect of these converging lines and tapering shapes carries our vision along the road so insistently that we follow it in imagination beyond the frame.
Thus by the magic of pictorial design our vision is caught and so controlled that a single glance, sweeping the picture in the direction ordained by the artist, gives us a definite feeling of movement. No matter who looks, or how often, he will see the accents in the order we have named—covered wagon, turn of the road, far end of the road—and will thus get the main story of the picture in the shortest time, the simplest terms, and with the right emphasis. If this picture were to be thrown upon the screen for only a second we are confident that every spectator would instantly get the primary meaning, (1) wagon loads of merry-*makers (2) are swinging (3) up the road. There are minor interests, too, such as the comic figures and actions of the characters, the prancing of dogs and horses, the rustic cottage, the tops of trees, clouds, etc.; but these are kept subsidiary in the design and yet, as they emerge one by one, they are found to be
