ith balance over the vertical.

One may recall photographs of figures in which the positions on the field
of the plate are very much to one side of the centre, but which have the
qualifying element in _leading line_ or _balance by an isolated measure_
that brings them within the requirements of unity. The "Brother and
Sister" (7) by Miss Kasebier--the boy in sailor cap crowding up to the face
and form of his younger sister,--owes much to the long, strongly-relieved
line of the boy's side and leg which draws the weight to the opposite side
of the picture. In imagination we may see the leg below the knee and know
how far on the opposite side of the central vertical his point of support
really is. The movement in both figures originates from this side of the
picture as the lines of the drapery show. Deprive such a composition of
its balancing line and instead of a picture we would have but two figures
on one side of a plate.

The significance of the horizontal balance is best understood in
landscape, with its extended perspective. Here the idea becomes
reminiscent of our childhood's "teeter." Conceiving a long space from
foreground to distance, occupied with varied degrees of interest, it is
apparent how easily one end may become too heavy for the other. The
tempering of such a chain of items until the equipoise is attained must be
coordinate with the effort toward the lateral balance.

VERTICAL AND HORIZONTAL BALANCE.

In the _"__Salute to the Wounded,__"_by Detaille, complete and formal
balance on both the vertical and horizontal line is shown. The chief of
staff is on one side of centre, balanced by the officer on the other, and
the remaining members of staff balance the German infantry. Although the
heads of prisoners are all above the horizontal line, three-fourths of the
body comes below--a just equivalent--and, in the case of the horsemen, the
legs and bodies of the horses draw down the balance toward the bottom of
the canvas, specially aided by the two cuirassiers in the left corner. In
addition to this, note the value of the placement of the gray horse and
rider at left, as a means of interrupting the necessary and objectionable
line of feet across the canvas and leading the eye into the picture and
toward the focus, both by the curve to the left, including the black
horse, and also by the direct jump across the picture, through the white
horse and toward the real subject--i.e., the prisoners.