t in the
foreground, said to embody a pun (Hohl Bein). But the _key_ needs to be
kept in mind as its maximum expression is the _culmination_ of the
effect. The _culmination_ of a speech is in its peroration; of a poem
in its incorporated envoi. Thus in the _Arab Love Song_, the culmination
is:--

'And thou what needest with thy tribe's black tents
Who hast the red pavilion of my heart?'

There is no difficulty there. But in painting the _culmination_ is more
subtle. It consists in the isolation of the chief object. Say that we
have from left to right: Black, yellow, dark brown, light blue, dark
red; then add on the extreme right, crimson, then gold. The picture
_culminates_ on the extreme right, with the result that attention is
directed there and that any object in that section of the picture
benefits by an influence about equivalent to that of footlights.
_Culmination_, involves the painter in great difficulties, for there
must be _culmination_, while an effect in the wrong place may destroy
the _balance_ of his work. This appertains to

Group D. (Static). Its chief quality, _balance_, is easily defined in
painting. Where there is correspondence between every section of the
picture, where no value is exaggerated, _balance_ exists. Hence the
failure of Futurism. While the Futurists understand very well
_intensity_, _reaction_, and _relief_, they refuse to give _balance_ any
attention at all; leaving aside the absurdity of rendering the mental
into terms of the pictorial, and taking as an instance one who was once
less Futurist than the Futurists, Severini, we see in his 'Pan-pan
Dance' how he detached himself from his school: he attained _balance_ by
giving every object an equal _intensity_. Such is also the tendency of
Wadsworth. Evidently if there are no clashes of tone-values, there must
be _balance_, and the instance serves to show that where there are
clashes of tone-values _balance_ must be ensured by the artist's hand.
There is always _balance_ in the purely decorative; in the realistic
there is _balance_ if the attention of the beholder is directed
simultaneously to the several points of _culmination_ indicated by the
_rhythm_ of the picture. Thus there is _balance_ in Rothenstein's
'Chloe' because the rocks on the right repeat the significance of the
rocks on the left.

Likewise in literature there is balance in certain groupings of
phrases:--

'The waves rolled in. Every one, edged with foam,