lly fill a space is met
by pictorial composition through the many correlative opportunities which
in her broader range are open to her, by which she _adds_ to the
fundamental forms of construction (which often prove bad space fillers)
such items as connect their outlines with the encasement or frame. With
some ingenuity advocates of pure design as the basis of pictorial
structure, point out the similarity of certain compositions to formal,
ornamental design or type forms of plants, flowers, etc., yet omit to
state how many of the best compositions they reject in their search for
the happy hit or to allow for the fact that in those which they cite,
cruel disturbance of the beautiful scheme could easily be wrought by
slight reconstruction, leaving the work quite as good. The author's
contention is directly opposed to the notion that pictorial art is
dependent on the flat plan of the design, which is only contributory, but
that its essence is known by an apprehension of balance through the depth
of the picture. Pictorial art is not an art of two dimensions but of
three.

CHAPTER VIII - THE COMPOSITION OF ONE, TWO, THREE AND MORE UNITS

Starting with a single idea represented by a single unit the coexistent
thought must be the frame or canvas circumference. Supplying this we may
then think of the unit as a matter of proportion. When the amount of
space allowed the unit has been decided, the space between its
circumference and the dimensions of the canvas, or what may be called the
surplus or contributing area is the only thing that remains to engage us.
Let the unit be a standing figure, or a portrait, head and shoulders.

The unification of a unit, enclosed in four sides, _with those sides_ can
only be accomplished by either having the mass of the figure touch the
sides of the canvas, or stretch toward them with that intent. According
to the _strength or number_ of such points of attachment will the unit be
found to maintain a stable existence amid its surroundings. In the case
of the single figure standing within the frame where no chance of contact
occurs, the background should show an oppositional mass or line attaching
at some point the vertical sides of the figure to the sides of the canvas.
An equivalent of such a line is a gradation, often the shadow from the
figure serving to effect this union. If the shadow unites the outline
with the background in such a tone as to subdue or destroy this outline,