per cent.  The D.C. type is evidently already explicitly balanced as regards shape and intrinsic interest, and is hence of comparative unimportance to our problem.  The S.C. will show a balance, if at all, in more or less accessory factors; S. & S., broadly, between interest and other factors.  As logically more important, this last group will be treated more fully.  The full classification of the thousand pictures by subjects is as follows: 

S.C.    D.C.    S.S. 
Altarpieces                 78     70      7      1
Madonna & Child             47     47      0      0
Holy Family                 67     40     14     13
Adorations                  19     19      0      0
Crucifixions                23     21      0      2
Descents f.  Cross           27     26      0      1
Annunciations               21      0     21      0
Misc.  Religious            162     93     55     14
Allegorical                 46     36      6      4
Genre                       93     63     19     11
Landscape                   88     65     22      1
Portrait Groups             64     42     17      5
Relig.  Single Fig.          28     28      0      0
Alleg.  Single Fig.          12     12      0      0
Portrait Single Fig.       207    207      0      0
Genre Single Fig.           18     18      0      0

Altarpieces.

The pictures of the first group, consisting of the Madonna and Infant Christ surrounded by worshippers, and briefly designated as Altarpieces, are good for detailed study because they present a simple type, and it will be easy to show whether the variations from symmetry are in the direction of balance or not.  A few examples will make this clear.  The Madonna in the S.C. pictures is invariably seated holding the Christ.

In the following descriptions M. will denote Madonna, C. Child, Cn. central line.  The elements, Size or Mass, Direction of Motion or Attention, Direction of Line, Vista, and Interest, will be set down as Ms., D., L., V., and I. A couple of examples will show the method of describing and of drawing a conclusion as to balance.

1. 969.  Lorenzo Lotto, Madonna with St. Bernard and St. Onofrius. C. is on one side turning to the same; M. leans far to the other; hence interest in C., and direction of C.’s attention are over against Mass of M. and direction of M.’s attention; i.e., I. + D. = Ms. + D., and so far, balance.  The surrounding saints are insignificant, and we may make the equation I. = Ms.

2. 368.  Raffaelino di Francesco, Madonna Enthroned. The C. is on Right facing front, M. turns away Left, hence interest in C. is over against direction of M.’s attention.  Moreover, all the saints but one turn Left, and of two small vistas behind the throne, the one on the Left is deeper.  The superior interest we feel in C. is thus balanced by the tendency of attention to the opposite side, and we have I. = D. + V.