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 picture should be done over and over again. We become fond of certain ones, as of certain oft-repeated songs. Every attempt ought to better previous efforts, and all the family must learn to be very critical. Every detail of the composition should be examined, remembering that nothing is too small to have a reason for its introduction. The angle at which a hat is set, the direction of the eyes, even the length of a ribbon, may seriously affect the success of the picture.

Picture-posing opens a very interesting class of subjects for the amateur photographer. When his ingenuity is taxed for new ideas, he can find pleasure and profit in reproducing the compositions of the masters. If he has groups of figures to arrange, he may interest his sitters in posing à la some famous portrait group of an old master.

The subjects for picture games cannot be chosen at random. A great deal of thought must go into the selection. Millet’s figures are admirably adapted to the purpose. They have the plastic qualities of sculpture, and by merely reproducing attitude and gesture, the poser suggests the essential quality of the original. Other artists have made much of costume, and the success of the reproduction depends upon the careful study of these details. This is the case with Van Dyck and Velasquez. The English and Spanish royalties whom they painted would never be recognized without their court finery, for there is little distinctive in their attitude or gesture. Many famous portrait heads by the old masters are