Genre, and Landscape. It was found on analysis that the
functions of the elements came out clearly, somewhat as follows.

<1> One thousand reproductions of old masters from F. Bruckmann's
_Classischer Bilderschatz_, Munich, omitting frescoes and
pictures of which less than the whole was given.

Of the religious pictures, only the "Madonnas Enthroned" and
other altar-pieces are considered at this point as presenting a
simple type, in which it is easy to show the variations from
symmetry. In all these pictures the balance comes in between
the interest in the Infant Christ, sometimes together with
direction of attention to him, on one side, and other elements
on the other. When the first side is especially "heavy" the
number of opposing elements increases, and especially takes
the form of vista and line, which have been experimentally
found to be powerful in attracting attention. Where there are
no surrounding worshipers, we notice remarkable frequency in
the use of vista and line, and, in general, balance is brought
about through the disposition of form rather than of interests.
The reason for this would appear to be that the lack of
accessories in the persons of saints, worshipers, etc., and
the consequent increase in the size of Madonna and Child in
the picture, heightens the effect of any given outline, and so
makes the variations from symmetry greater. This being the
case, the compensations would be stronger; and as we have
learned that vista and line are of this character, we see why
they are needed.

The portrait class is an especially interesting object for