place the statue in the exact centre. In this shape the
picture composes well. In re-adding this space however the centre is
shifted leaving the statue and two figures hanging to one side but close
to the pivot and demanding more balance in this added side. Now the space
alone, with very little in it, has weight enough, and just here the
over-scientific enthusiast might err; but the artist in this case from two
other considerations has here placed a figure. It opposes its vertical to
the horizontal of the table, and catches and turns the line of the shadow
on the wall into the line of the rug. An extended search in pictorial art
gives warrant for a rule, upon this principle, namely: where the subject
is on one side of the centre it must exist close to the centre, or, in
that degree in which it departs from the centre, show positive anchorage
to the other side.

[Pines in Winter (Unbalance); The Connoisseurs--Fortuny (Balance of the
Steelyards)]

It is not maintained that every good picture can show _this complete_
balance; but the claim is made that the striving on the part of its
designer has been in the direction of this balance, and that, had it been
secured, the picture would have been that much better. Let this simple
test be applied by elimination of overweighted parts or addition of items
where needed, _on this principle,_ and it will be found that the
composition will always improve. As a necessary caution it should be
observed that the small balancing weight of the steelyard should not
become a point causing divided interest.

It is easy to recognize a good composition; to tell why it is good may be
difficult; to tell how it could be made better is what the art worker
desires to know. Let the student when in doubt weight out his picture in
the balances mindful that the principle of the steelyards covers the items
in the depth as well as across the breadth of the picture.

POSTULATES

Every picture is a collection of units or items.

Every unit has a given value.

The value of a unit depends on its attraction; its attraction varies as to
its placement.

An isolated unit near the edge has frequently more attraction than at the
centre.

Every part of the picture space has some attraction.

Space having no detail may possess attraction by gradation and by
association.

A unit of attraction in an otherwise empty space has more weight through
isolation than t