And now for contrast, we have noted the big one made by the diagonal line, dividing the composition into light and dark. Let us note those appearing in the figure. First there is the big contrast of the figure’s own diagonal line from the shoulders down through the right leg. It is contrasted most forcibly with the sides of the picture, the horizon line, and the direction of the right arm and the left leg. The latter are practically at right angles to the figure--strongest of all contrasts of line. It is to all these vigorous contrasts that the energy and assertion of the figure are mainly due. But there are other contrasts in the figure. Do you notice that the swing of the arm brings the trunk of the body, or the torso, as it is called, along with it? Swing your own arm and you will find your torso following its direction. If the man’s arm were to reach its full extension, his left shoulder would appear and his torso would front us nearly full. If his hand should reach the bag, the right shoulder would come forward until the torso would be seen almost in profile. However, neither of these extremes is presented. The swing of the torso is poised between the two. But do you observe that the swing of the torso and arms is across the path of direction of the swing of the legs? While they swing forward and backward, the arms and torso swing alternately from right to left and left to right.