97. Lines balance when in opposite attitudes. We get Balance in all
inversions, whether single or double.
[Illustration: Fig. 129]
Here similar lines are drawn in opposite attitudes and we get Measure
and Shape-Balance. In the above case the axis of balance is vertical.
The balance is, therefore, symmetrical. Symmetrical Balance is obtained
by the single inversion of any line or lines on a vertical axis. Double
inversion gives a Balance of Measures and Shapes on a center. We have
no Symmetry in double inversions. All this has been explained.
[Illustration: Fig. 130]
We have Measure and Shape-Balance on a center in this case. It is
a case of double inversion. It is interesting to turn these double
inversions on their centers, and to observe the very different effects
they produce in different attitudes.
98. Shapes in order to balance satisfactorily must be drawn in the same
measure, as in Fig. 131 which follows.
[Illustration: Fig. 131]
[Illustration: Fig. 132]
Here, in Fig. 132, we have Shape-Harmony without Measure-Harmony.
It might be argued that we have in this case an illustration of
Shape-Balance without Measure-Balance. Theoretically that is so, but
Shape-Balance without Measure-Balance is never satisfactory. If we
want the lines in Fig. 132 to balance we must find the balance-center
between them, and then indicate that center by a symmetrical inclosure.
We shall then have a Measure-Balance (occult) without Shape-Balance.
99. When measures correspond but shapes differ the balance-center may
be suggested by a symmetrical inclosure or framing. When that is done
the measures become balanced.
[Illustration: Fig. 133]
Here we have Measure-Harmony and a Measure-Balance without
Shape-Harmony or Shape-Balance. The two lines have different shapes but
the same measures, lengths and widths corresponding. The balance-center
is found for each line. See pp. 54, 55. Between the two centers is
found the center, upon which the two lines will balance. This center is
then suggested by a symmetrical inclosure. The balancing measures in
such cases may, of course, be turned upon their centers, and the axis
connecting their centers may be turned in any direction or attitude,
with no loss of equilibrium, so far as the measures are concerned.
[Illustration: Fig. 134]
The Balance of Measures here is just as good as it is in Fig.
133. The attitudes are changed but not the relation of the three
balance-centers. The change of shape in the inclosure makes no
difference.
100. Measure-Balance without Shape-Harmony or Shape-Balance is
satisfactory only when the balance-center is unmistakably indicated or
suggested, as in the examples which I have given.
101. There is another form of Balance which is to be inferred from what
I have said, on page 18, of the Balance of Directions, but it needs to
be particularly considered and more fully illustrated. I mean a Balance
in which directions or inclinations to the right are counteracted by
corresponding or equivalent directions or inclinations to the left. The
idea in its simplest and most obvious form is illustrated in Fig. 22,
on page 18. In that case the lines of inclination correspond. They do
not necessarily correspond except in the extent of contrast, which may
be distributed in various ways.
[Illustration: Fig. 135]
The balance of inclinations in this case is just as good as the balance
in Fig. 22. There is no symmetry as in Fig. 22. Three lines balance
against one. The three lines, however, show the same extent of contrast
as the one. So far as the inclinations are concerned they will balance
in any arrangement which lies well within the field of vision. The eye
must be able to appreciate the fact that a disposition to fall to the
right is counteracted by a corresponding or equivalent disposition to
fall to the left.
[Illustration: Fig. 136]
This arrangement of the inclining lines is just as good as the
arrangement in Fig. 135. The inclinations may be distributed in any
way, provided they counteract one another properly.
[Illustration: Fig. 137]
In this case I have again changed the composition, and having
suggested the balance-center of the lines, as attractions, by a
symmetrical inclosure, I have added Measure-Balance (occult) to
Inclination-Balance. The Order in Fig. 137 is greater than the Order in
Figs. 135 and 136. In Fig. 137 two forms of Balance are illustrated,
in the other cases only one. The value of any composition lies in the
number of orderly connections which it shows.
[Illustration: Fig. 138]
In this case I have taken a long angular line and added a sufficient
number and extent of opposite inclinations to make a balance of
inclinations. The horizontal part of the long line is stable, so it
needs no counteraction, but the other parts incline in various degrees,
to the left or to the right. Each inclining part requires, therefore,
either a corresponding line in a balancing direction, or two or more
lines of equivalent extension in that direction. In one case I have set
three lines to balance one, but they equal the one in length, that is
to say, in the extent of contrast. We have in Fig. 138 an illustration
of occult Measure-Balance and the Balance of Inclinations. I have
illustrated the idea of Inclination-Balance by very simple examples.
I have not considered the inclinations of curves, nor have I gone,
at all, into the more difficult problem of balancing averages of
inclination, when the average of two or more different inclinations of
different extents of contrast has to be counteracted. In Tone-Relations
the inclinations are of tone-contrasts, and a short inclination with a
strong contrast may balance a long inclination with a slight one, or
several inclinations of slight contrasts may serve to balance one of a
strong contrast. The force of any inclining line may be increased by
increasing the tone-contrast with the ground-tone. In tone-relations
the problem becomes complicated and difficult. The whole subject of
Inclination-Balance is one of great interest and worthy of a separate
treatise.