ttention in the field of view. But while all are possibly operative in a given picture, some are given, as we

, disposed of mass and line. They give what action there is, and where they are very strongly operative, they are opposed by salient lines and deep vistas, which act more strongly on the attention than does mass. Interest keeps its predominan

se elements which move and distribute the attention; in accordance with which principle we find line also unusually influential. As

hich is yet quiet; or, it might be said, inasmuch as energy is certainly expended in plunging down the third dimension, the vista introduces an element of action of counterbalancing character. In the landscape it introduces the principal element of variety. It is always to be found i

ese types are of large simple outline, so that line would be expected to tell. In a decided majority of cases, combined with vista-the shape being more

its and landscapes, and which are not yet symmetrical,- in which last case mass is, of course, already balanced. In fact, it mus

h make it stable. The ideal composition seems to combine the dynamic and static elements,-to animate, in short, the whole field of view, but in a generally bilateral fashion. The elements, in substitutional symmetry, are then simply means of introducing variety and action. As a dance in which there