Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: Lion In The Desert — Glromc Balance of Isolated Measures Salute To The Wounded — Delaille Balance of Equal Measures Pines In Winter Unbalance The Connoisseurs — Forluny Balance of the Steelyards ing, the artist must create something, with the conclusion that some element of the picture was lacking. In the snow-scene the eye is attracted from the pine-trees to the houses on the left and rests there, no attraction having been created to move it to the other half of the picture. What is known as divided interest in a picture is nothing more than the doubt established by a false arrangement of balance, too great an attraction being used where less weight was needed. The artist must be the judge of the degree of satisfaction he allows this feeling, but no one can ignore it and obtain unity. The question of degree must have a caution placed before it; for in an attempt to create a balance on the opposite side of the vertical the tendency is to use too heavy a weight. The whole of the subject is sometimes made to take its place well on one side and another item would seem redundant. Two points will be noticed in all of such cases: that the opposing half may either be cut off without damage, or greatly elongated, and in both forms the picture seems to survive.1 The fact becomes an argument for the theory of balance across a medial upright line; in the first instance by shifting the line itself into the centre of the subject, and in the second by securing more weight of space with which to balance the subject. The portrait of Sarah Bernhardt,' an excellent composition from many points of view, finds its most apparent balance on either side of the sinuous line of light through the centre exhibiting the axis, which many pictures show in varying degree...