his groups, but for purely artistic purposes. He distorts the
human figure with perfect justification. Not only must the whole
figure follow the lines of the triangle, but each limb must grow
narrower from bottom to top. Raphael's "Holy Family" is an
example of triangular composition used only for the harmonizing
of the group, and without any mystical motive.]

So the abstract idea is creeping into art, although, only
yesterday, it was scorned and obscured by purely material ideals.
Its gradual advance is natural enough, for in proportion as the
organic form falls into the background, the abstract ideal
achieves greater prominence.

But the organic form possesses all the same an inner harmony of
its own, which may be either the same as that of its abstract
parallel (thus producing a simple combination of the two
elements) or totally different (in which case the combination may
be unavoidably discordant). However diminished in importance the
organic form may be, its inner note will always be heard; and for
this reason the choice of material objects is an important one.
The spiritual accord of the organic with the abstract element may
strengthen the appeal of the latter (as much by contrast as by
similarity) or may destroy it.

Suppose a rhomboidal composition, made up of a number of human
figures. The artist asks himself: Are these human figures an
absolute necessity to the composition, or should they be replaced
by other forms, and that without affecting the fundamental
harmony of the whole? If the answer is "Yes," we have a case in
which the material appeal directly weakens the abstract appeal.