We have spoken of the poise of the body on the legs; now let us note the action of the right arm. The action, I need hardly say, begins with taking a handful of grain from the bag; then the arm is swung back to the right to its full extent, and then again brought back to the bag. Between these two points--that of the bag and that of the full extent--the arm is poised in motion, just as the action of the body was poised between the backward and forward motion of the legs. We can feel that the arm is moving, and, at this instant it is moving backward, for our own experience when we walk and swing our arms naturally is that each arm goes back as the leg on that side goes forward. The man’s arm will reach its furthest point backward when he brings his full weight on the right foot. In a word, the poise of the arm and the poise of the leg correspond. They present an example of repetition of balance. It is enforced, you will observe, in the composition by the arm being made parallel to the direction of the backward leg. This is another instance of repetition; and there are still others: the repetitions of the waist line, the shoulders, and the hat brim; of the bandage on the left leg, the line from the shoulder through the thigh, the apron, hanging over the arm, and of the echo, as it were, of these, in the tail of the distant ox and the arm of the driver. These repetitions, and others that you may discover for yourself, help to bind the composition together and also to make it rhythmic.