lcrum, but to this point must be
added the increase of weight and importance which isolation gives. These
considerations need not be mystifying.

In the charge to Peter, "Feed my sheep," Raphael has produced something
quite at variance with his ordinary plan of construction. Christ occupies
one side of the canvas, the disciples following along the foreplane toward
him.

Here is an isolated figure the equivalent of a group.

The sleeping senator of Gerome's _picture_ effects a like purpose among
the empty benches and pillars. The main group is placed near the centre,
the small item at the extreme edge. Even Caesar in the foreground--covered
by drapery and in half shadow--is less potent as an item of balance, than
this separate figure.

BALANCE OF CUBICAL SPACE.

Finally the notion that the picture is a representation of depth as well
as length and height develops the idea of balance in the chain of items
from foreground to distance. A pivotal space then will be found, a
neutral ground in the farther stretch from which may be created so much
attraction as to upend the foreground, or in the nether reach toward us
there may be such attraction as to leave the distance without its weight
in the convention of parts. The group with insufficient attraction back
of it topples toward us, to be sustained within the harmonious circuit of
the picture only by such items of attraction behind it as will recover a
balance which their absence gave proof of. This is a more subtle but none
the less potent influence than the vertical and lateral balance and may
best be apprehended negatively. The "aggressiveness" of many foreground
items which are in themselves essential as form and correct in value is
caused by the lack of their balancing complements in the back planes of
the picture.

Balance is not of necessity dependent upon objects of attraction. Its
essence lies in the movement from one part of the picture to another,
which the arrangement compels, and this may often be stimulated by the
intention or suggestion of motion in a given direction.

CHAPTER IV - EVOLVING THE PICTURE

The artist gets his picture from two sources. He either goes forth and
finds it, or creates it. If he creates it the work is deliberate, and the
artist assumes responsibility. If he goes to nature, he and nature form a
partnership, she supplying the material and he the experience. In editing
the material thus supplied, the art