The first five illustrations in this book show the course of constructive effort in painting. This effort falls into two divisions: (1) Simple composition, which is regulated according to an obvious and simple form. This kind of composition I call the MELODIC. (2) Complex composition, consisting of various forms, subjected more or less completely to a principal form. Probably the principal form may be hard to grasp outwardly, and for that reason possessed of a strong inner value. This kind of composition I call the SYMPHONIC. Between the two lie various transitional forms, in which the melodic principle predominates. The history of the development is closely parallel to that of music. If, in considering an example of melodic composition, one forgets the material aspect and probes down into the artistic reason of the whole, one finds primitive geometrical forms or an arrangement of simple lines which help toward a common motion. This common motion is echoed by various sections and may be varied by a single line or form. Such isolated variations serve different purposes. For instance, they may act as a sudden check, or to use a musical term, a "fermata." [Footnote: E.g., the Ravenna mosaic which, in the main, forms a triangle. The upright figures lean proportionately to the triangle. The outstretched arm and door-curtain are the "fermate."] Each form which goes to make up the composition has a simple inner value, which has in its turn a melody. For this reason I call the composition melodic. By the agency of Cezanne and later of Hodler [Footnote: English readers may roughly parallel Hodler with Augustus John for purposes of the argument.--M.T.H.S.] this kind of composition won new life, and earned the name of "rhythmic." The limitations of the term "rhythmic" are obvious. In music and nature each manifestation has a rhythm of its own, so also in painting. In nature this rhythm is often not clear to us, because its purpose is not clear to us. We then speak of it as unrhythmic. So the terms rhythmic and unrhythmic are purely conventional, as also are harmony and discord, which have no actual existence. [Footnote: As an example of plain melodic construction with a plain rhythm, Cezanne's "Bathing Women" is given in this book.] Complex rhythmic composition, with a strong flavour of the symphonic, is seen in numerous pictures and woodcuts of the past. One might mention the work of old German masters, of the Persians, of the Japanese, the Russian icons, broadsides, etc. [Footnote: This applies to many of Hodler's pictures.] In nearly all these works the symphonic composition is not very closely allied to the melodic. This means that fundamentally there is a composition founded on rest and balance. The mind thinks at once of choral compositions, of Mozart and Beethoven. All these works have the solemn and regular architecture of a Gothic cathedral; they belong to the transition period.