B. With the head on one side of Cn., of course the greatest interest is removed to one side, and the element of direction is brought in to balance.  Again, with this decrease in symmetry, we see the significant increase in the use of the especially effective elements, V. and L.  (Cf.  B. I., II., III., IV., and especially V.) In fact, the use of the small deep vista is almost confined to the class with heads not in the middle.  The direction of the glance also plays an important part.  It is to be noted that in B. I. and II., I. appears as the most frequently used element, exclusive of the general equation, which is, of course, between the mass of the body and interest of the face, on one side, and the direction of suggested movement on the other.  This means that very often the direction of movement alone is not sufficient to balance the powerful Ms. + I. of the other side, and that the eye has to be attracted by a definite object of interest.  This is usually the hand, with or without an implement—­like the palette, etc., of our first examples—­or a jewel, vase, or bit of embroidery.  This is very characteristic of the portraits of Rembrandt and Van Dyck.

In general, it may be said that (1) portraits with the head in the center of the frame show a balance between the direction of suggested movement on one side, and mass or direction of attention, or both together, on the other; while (2) portraits with the head not in the center show a balance between mass and interest on one side, and direction of attention, or of line, or vista, or combinations of these, on the other.  The hypothesis of substitutional symmetry is thus completely confirmed.

Genre.

Still more unsymmetrical in their framework than portraits, in fact the most unfettered type of all, are the genre pictures.  Being so irregular, they admit of no complete classification based on constant elements in the framework, such as was possible for the types already dealt with.  A grouping, based on types of composition, is indeed possible, as of triangles, diagonals, etc., but as this begs the question of the relative importance of line and direction of attention, and assumes that the shape is all-important, it will not be made use of here.  The broad divisions and the relative use of the elements are given as follows: 

    S.C. 63.  Most frequent form (I. = or I. + D. =).  Most used
    element, I., 89 per cent.; least used, L., 44 per cent.; D.,
    57 per cent.; Ms., 57 per cent.; V., 46 per cent.

    D.C. 19.  Most frequent form (I. + D. = I. + D.) Most used
    element, I. (all cases); least used, L., 31 per cent.; V., 47
    per cent.; Ms., 63 per cent.; D., 42 per cent.

    S.&S. 11.  Most frequent form (I. or I. + Ms. = V. or V. +). 
    Most used element, I., 100 per cent.; least used, L., 20 per
    cent.; V., 82 per cent.; Ms., 72 per cent.; D., 27 per cent.