he same when placed with other units.

A black unit on white or a white on black has more attraction than the
same on gray.

The value of a black or white unit is proportioned to the size of space
contrasting with it.

A unit in the foreground may have less weight than a like one in the
distance.

Two or more associated units may be reckoned as one and their _united
centre_ is the point on which they balance with others.

There is balance of Line,(2) of Mass,(3) of Light and Dark,(4) of
Measure,(5) which is secured upon a _scale of attraction_ which each
possesses. Many pictures exhibit these in combination.

The "Lion of the Desert," by Gerome shows three isolated spots and one
line of attraction. The trend of vision on leaving the lion is to the
extreme right and thence back along the pathway of the dark distance into
the picture to the group of trees. Across this is an oppositional balance
from the bushes of the foreground to the mountains of the extreme
distance. The only line in the composition, better seen in the painting
than in the reproduction, counts much in the balance over the centre. The
placement of the important item or subject, has little to do with the
balance scheme of a picture. _This is the starting point, and balance is a
consideration beyond this._

In every composition the eye should cross the central division at least
once. This initiates equipoise, for in the survey of a picture the eye
naturally shifts from the centre of interest, which may be on one side, to
the other side of the canvas. If there be something there to receive it,
the balance it seeks is gratified. If it finds nothing, 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