re a counter emotion weakens and where it strengthens the
idea is determined on a scale of degree, many necessary parts taking
precedence thereto before the opposed sentiment shall attract us. These
ideas, correlative to their principal, have also their scale of
attraction, and only in the formal arrangement of allegory and decoration
may two units be allowed the same degree of attraction. This is one of
the most frequent forms in which weak composition develops, leaving the
mind uncertain as to the sequence, and the eye wavering between the equal
claims of separated parts. The neglect of leading lines, or of forcing a
logical procedure from part to part, so that no part may escape the
continuous inspection of all, produces _decomposition._ The avoidance of
inharmony must of course yield harmony.

Harmony

Harmony, therefore, though a necessary principle in all art, does not push
herself to the front as does Principality. She follows naturally, if
allowed to.

The Must Be's and May Be's of Composition

Of the other _principles_, Consistency or breadth, Continuity and its
complement, Contrast, associate themselves in greater or less degree with
Principality and Harmony, which are the must be's; while Repetition,
Radiation, Curvature and Interchange are reckoned as the may be's of
composition.

Perspective

The basis of all plane presentation is founded on perspective, an absolute
science giving absolute satisfaction to all who would have it. _Knowing_
that a figure must be of a certain height if it occupy a given space is
often a shorter road to the fact even though it demand a perspective
working plan than _feeling_ for it with the best of artistic intentions.
One may feel all around the spot before finding it, and meanwhile the
scientist has been saving his temper.

In all compositions demanding architectural environment or many figures,
perspective becomes essential, at least as a time saver. Yet if the
science never existed such art as embraces many figures and architecture
could find adequate expression at the hands of the discerning artist.

The science of perspective does no more than acquaint the artist with any
given angle. His knowledge of cause and effect in the universe, with an
added art instinct, are equipment sufficient to obtain this.

No part of art expression commands more of the mys