S.C. 912.  J. van Ruysdael, Forest Landscape, in the London National Gallery.  In the Cn. is a stagnant pool, backed on the Right by thick woods.  A dead tree, white, very prominent in the Right foreground, another at its foot sloping down to Cn.  On the Left a bank sloping down to Cn., a tree at its foot; behind both, and seen also between the two central trees, bright sky and clouds.  Thus, there is on the Right, Mass and Direction to Cn.; on the Left, Vista and Direction to Cn.; Ms. + D. = V. + D.

D.C. 642.  Hobbema, The Watermill, in Buckingham Palace.  On the Right, a bank sloping upward, a large cluster of trees, a path leading down to Right lower corner.  On the Left, somewhat lower, the mill, and water in front of it, flowing down to Left; clearest sky between mill and trees.  Thus Mass and Direction out are placed over against Interest (in mill) and Direction out, plus possibly a hint of Vista, or Ms. + D. = I. + D + V.

S.C. 65.  Most frequent form, Ms. + I. = V. + L. Most used element, V., 98 per cent.; least used, D., 22 per cent.  I. 73 per cent.; Ms. 66 per cent.; L. 31 per cent.

S. & S. One case.  Ms. + I. + V. = V.

D.C. 22.  Most frequent form, Ms. + I. or Ms. = V. or V. + (almost invariable).  Most used element, V., 100 per cent.; least used, D., per cent.  Ms. 82 per cent.; I. 73 per cent.; L. 23 per cent.

It was, of course, to be expected that in pictures without action there should be little suggestion of attention or of direction of movement.  What is less evident is the reason for the high percentage of I. Of course, figures do appear in many examples, and in most pictures some inanimate object is emphasized—­as, for instance, the mill in our second example.  But the most remarkable point of difference in these tables from the preceding is the presence of V. in practically every example.  It is, of course, natural that somewhere in almost every picture there should be a break to show the horizon line, for the sake of variety, if for nothing else—­but what is significant is the part played by this break in the balancing of the picture.  In about two thirds of the examples the vista is enclosed by lines, or masses, and when near the center, as being at the same time the ‘heaviest’ part of the picture, serves as a fulcrum or center to bind the parts—­always harder to bring together than in the other types of pictures—­into a close unity.  The most frequent form of this arrangement, as seen by the table, is a diagonal, which just saves itself by turning up at its far end.  Thus the mass, and hence usually the special interest of the picture, is on the one side, on the other the vista and the sloping line of the diagonal.  In very few cases is the vista behind an attractive or noticeable part of the picture, the fact showing that it acts in opposition to the latter, leading the eye away from it, and thus serving at once the variety and richness of the picture, and its unity.  A pure diagonal would have line and vista both working at the extreme outer edge of the picture, and thus too strongly—­unless, indeed, balanced by very striking elements near the other edge.