in this paper in the statistical fulness which was necessary to establish my conclusions in the investigation itself, inasmuch as the tables were very extensive.  But examples of the tables, together with the full results, will be given, and a sufficient amount of detailed discussion to show my methods.  The two other subjects, the use of the elements and the types of composition, will be briefly treated.  I expect in other publications to go more closely into statistical detail on these matters than is possible in a merely experimental thesis.

In the beginning of the proposed statistical analysis a natural objection must first be forestalled:  it will be said, and truly, that color also has its effect in bringing about balance, and that a set of black and white reproductions, therefore, ignores an important element.  To this it may be answered, first, that as a matter of fact the color scheme is, as it were, superimposed upon the space-shape, and with a balance of its own, all the elements being interdependent; and secondly, that the black and white does render the intensity contrasts of the colors very well, giving as light and dark, and thus as interesting (= attractive) and the reverse, those factors in the scheme which are most closely related to the complex of motor impulses.  After having compared, in European galleries, the originals of very many of these reproductions with the equation of balance worked out from the black and white, the writer has seldom found an essential correction needed.

The pictures were first classified by subjects.  This may seem less logical than a division by types of arrangement.  But it really, for a majority, amounted to the same thing, as the historical masterpieces of art mostly follow conventional arrangements; thus the altarpieces, portraits, genre pictures, etc., were mostly after two or three models, and this classification was of great convenience from every other point of view.  The preliminary classification was as follows:  (1) Religious, Allegorical and Mythical Pictures; (2) Portraits; (3) Genre; (4) Landscape.  The historical pictures were so extremely few that they were included in the religious, as were also all the allegorical pictures containing Biblical persons.  Some pictures, of which Watteau’s are representative, which hovered between genre and landscape, were finally classified according as they seemed to owe their interest to the figures or to the scenery.  A preliminary classification of space arrangements, still with reference to content, showed three large general types:  (1) A single subject or group in the middle; (2) the same somewhat on one side, with subordinate elements occupying the rest of the space; (3) two objects or groups each occupying a well-defined center.  These were designated as Single Center, Single and Subordinate Center, and Double Center pictures, or S.C., S. & S., and D.C.  They are in proportions of S.C. 79 per cent., S. & S. 5 percent., D.C. 16