centre of
the picture, and around such a point the various components group
themselves, pulling and hauling and warring in their claim for attention,
the _satisfactory_ picture showing as much design of balance on one side
of the centre as the other, and the picture complete in balance displaying
this equipoise above and below the horizontal line.

Now, in order that what seems at first glance an exclusive statement may
be understood, the reader should realize that every item of a picture has
a _certain positive power,_ as though each object were a magnet of given
potency. Each has attraction for the eye, therefore each, while obtaining
attention for itself, establishes proportional detraction for every other
part. On the principle of _the steelyard,_ the farther from the centre
and more isolated an object is, the greater its weight or attraction.
Therefore, in the balance of a picture it will be found that a very
important object placed but a short distance from the centre may be
balanced by a very small object on the other side of the centre _and
further removed from it._ The whole of the pictorial interest may be on
one side of a picture and the other side be practically useless as far as
picturesqueness or story-telling opportunity is concerned, but which finds
its reason for existing in the _balance,_ and that alone.

In the emptiness of the opposing half such a picture, when completely in
balance, will have some bit of detail or accent which the eye in its
circular, symmetrical inspection will catch, unconsciously, and weave into
its calculation of balance; or if not an object or accent or line of
attraction, then some technical quality, or spiritual quality, such, for
example, as a strong feeling of gloom, or depth for penetration, light or
dark, a place in fact, for the eye to dwell upon as an important part in
connection with the subject proper, and recognized as such.

But, the querist demands, if all the subject is on one side of the centre
and the other side depends for its existence on a balancing space or
accent only, why not cut it off? Do so. Then you will have the entire
subject in one-half the space to be sure, but its harmony or balance will
depend on the equipoise when pivoted in the new centre.

BALANCE OF THE STEELYARD.

Let the reader make the test upon the _"__Connoisseurs__"_ and cut away
everything on the right beyond a line through the farther support of the
mantel. This will