is
sometimes made to take its place well on one side and another item would
seem redundant. Two points will be noticed in all of such cases: that the
opposing half may either be cut off without damage, or greatly elongated,
and in both forms the picture seems to survive.(6) The fact becomes an
argument for the theory of balance across a medial upright line; in the
first instance by shifting the line itself into the centre of the subject,
and in the second by securing more _weight of space_ with which to balance
the subject.

[Portrait of Sara Bernhardt--Clairin (Balance Across the Natrual Axis)]

The portrait of _Sarah Bernhardt,_ an excellent composition from many
points of view, finds its most apparent balance on either side of the
sinuous line of light through the centre exhibiting the _axis,_ which many
pictures show in varying degrees. The opposing corners are well balanced,
the plant over against the dog, with a trifle too much importance left to
the dog. Place the finger in observation over the head and forelegs of
the dog, taking this much off and the whole composition gains, not only
because the diagonal corners then balance, but because the heads of both
woman and dog are too important for the same side of the picture.

It would be perfectly possible in the more complete composition to have
both heads as they are, but this would demand more weight on the other
side; or a shifting of the whole picture very slightly toward the left
side.

In the painting this is not felt, as the head of the dog is so treated
that it attracts but little, though the object be in the close foreground.

This picture also balances on the horizontal and vertical lines.

Here we have the dog and fan balancing the body and plant. The balance
_across the diagonal_ of the figure, by the opposition of the dog with the
plant is very complete. Joined with the hanging lamp above, this sinuous
line effects a letter S or without the dog and leaf Hogarth's line of
beauty.

In the matter also of the weakening of the necessary foundation lines
which support the figure (the sofa), and cut the picture in two, this
curving figure, the pillow and the large leaf do excellent service.

When one fills a vase with flowers he aims at both unity and balance, and
if, in either color combination, or in massing and accent, it lacks this,
the result is disturbing. Let the vase become a bowl and let the bowl be
placed on its edge and made to rese