The Order of Balance in Lines
72. We have Balance in a line when one half of it is the single or double inversion of the other half; that is, when there is an equal opposition and consequent equilibrium of attractions in the line. When the axis of the inversion is vertical the balance is symmetrical.
There is Balance in this line because half of it is the single inversion of the other half. The balance is symmetrical because the axis is vertical. The balance, although symmetrical, is not likely to be appreciated, however, because the eye is sure to move along a line upon which there is no better reason for not moving than is found in slight terminal contrasts. The eye is not held at the center when there is nothing to hold the eye on the center. Mark the center in any way and the eye will go to it at once. A mark or accent may be put at the center, or accents, corresponding and equal, may be put at equal distances from the center in opposite directions. The eye will then be held at the center by the force of equal and opposite attractions.
In this case the eye is held at the balance-center of the line by a change of character at that point.
In this case the changes of character are at equal distances, in opposite directions, from the center. The center is marked by a break. The axis being vertical, the balance is a symmetrical one.
73. The appreciation of Balance in a line depends very much upon the attitude in which it is drawn.
In this case the balance in the line itself is just as good as it is in Fig. 85; but the axis of the balance being diagonal, the balance is less distinctly felt. The balance is unsatisfactory because the attitude of the line is one which suggests a falling down to the left. It is the instability of the line which is felt, more than the balance in it.
In this case of double inversion, also, we have balance. The balance is more distinctly felt than it was in Fig. 86. The attitude is one of stability. This balance is neither axial nor symmetrical, but central.
74. A line balances, in a sense, when its inclinations are balanced.
This line may be said to be in balance, as it has no inclinations, either to the right or to the left, to suggest instability. The verticals and the horizontals, being stable, look after themselves perfectly well.
This line has two unbalanced inclinations to the left. It is, therefore, less satisfactory than the line in Fig. 88, from the point of view of Balance.
The two inclinations in this line counteract one another. One inclination toward the left is balanced by a corresponding inclination toward the right.
In this case, also, there is no inclination toward the left which is not balanced by a corresponding inclination toward the right.
In this line, which is composed wholly of inclinations to the right or left, every inclination is balanced, and the line is, therefore, orderly in the sense of Balance; more so, certainly, than it would be if the inclinations were not counteracted. This is the problem of balancing the directions or inclinations of a line.
75. A line having no balance or symmetry in itself may become balanced. The line may be regarded as if it were a series of dots close together. The line is then a relation of positions indicated by dots. It is a composition of attractions corresponding and equal. It is only necessary, then, to find what I have called the center of equilibrium, the balance-center of the attractions, and to indicate that center by a symmetrical inclosure. The line will then become balanced.
Here is a line. To find the center of its attractions it may be considered as if it were a line of dots, like this:—
The principle according to which we find the balance-center is stated on page 23. The balance-center being found, it must be indicated unmistakably. This may be done by means of any symmetrical inclosure which will draw the eye to the center and hold it there.
In this case the balance-center is indicated by a rectangular inclosure. This rectangle is not, however, in harmony of character with the line inclosed by it, which is curved.
In this case the balance-center is indicated by a circle, which, being a curve, is in harmony of character with the inclosed line, which is also a curve. I shall call this Occult Balance to distinguish it from the unmistakable Balance of Symmetry and other comparatively obvious forms of Balance, including the balance of double inversions. As I have said, on page 24, the symmetrical framing must be sufficiently attractive to hold the eye steadily at the center, otherwise it does not serve its purpose.