[Lion in the Desert--Gerome (Balance of Isolated Measures); Salute to the
Wounded--Detaille (Balance of Equal Measures)]

Much has been written by way of suggestion in composition dealing with
this picture or that to illustrate a thought which might have been
simplified over the single idea of balance which contains the whole secret
and which if once understood in all of its phases of possible change will
establish procedure with a surety indeed gratifying to him who halts
questioning the next step, or not knowing positively that the one he has
taken is correct.

These criticisms vaguely named "confusion," "stiffness," "scattered
quantity," etc., all lead in to the root, unbalance, and are to be
corrected there.

Balance is of importance according to the number of units to be composed.
Much greater license may be taken in settling a single figure into its
picture-space than when the composition involves many. In fact the mind
pays little heed to the consideration of balance until a complication of
many units forces the necessity upon it. The painter who esteems lightly
the subject of composition is usually found to be the painter of simple
subjects--portraits and non-discursive themes, but though these may survive
in antagonism to such principles their authors are demanding more from the
technical quality of their work than is its mission to supply.

The first two main lines, if they touch or cross, start a composition.
After that it is necessary to work upon the picture as it hangs in the
balances.

The inutility of considering composition in outline or in solid mass of
tone as a safe first analysis of finished work is evident when we discover
that not until we have brought the picture to the _last_ stage of detail
finish do we fully encompass balance. The conception which looks
acceptable to one's general idea in outline may finish all askew; or the
scheme of Light and Dark in one or two flat tones _minus the balance of
gradation_ will prove false as many times as faithful, as it draws toward
completion. It is because of this that artists when composing roughly in
the presence of nature seldom if ever produce note-book sketches which
lack the unity of gradation. It is the custom of some artists to paint
important pictures from such data which, put down hot when the impression
is compulsory, contain more of the essence of the subject than the
faithful "study" done at leisure.