- son, therefore, to expect that from long practice all
directors will learn how to treat it pictorially, and with ever new variety of beauty.
The general field of composition in fixed design has now been surveyed. We have tried to show that a good pictorial composition, even from a commercial point of view, is one which provides instant emphasis on the focal interest; which unites this focal interest with the other parts of the picture by means of a certain arrangement, or pattern; which keeps all of its values in a reposeful balance, and which pulsates with a vital rhythm. These four qualities—emphasis, unity, balance, and rhythm—are necessary in what might be called the mechanics of beauty, the technique of design. We admit, cheerfully, that the beauty of a given masterpiece cannot be explained by pointing out an observance of certain fundamental laws of design, for an uninspired artist might obey all these laws without ever achieving beauty, just as a machinist might obey all the laws of mechanics without ever inventing a machine. But we insist that an observance of pictorial laws is a first condition that must be fulfilled by the artist before the mysterious quality of beauty will arise in his work.
The accented moment in a pictorial movement, which we have studied from so many angles, is, of course, not fixed on the screen for any great length of time, never for more than a few seconds, though it may remain fixed in memory for years. Nor is it a separate thing upon the screen. It rises from an earlier moment and flows into a later one. The rapid succession of momentarily fixed pictures on the screen is, in fact, what gives the illusion of motion. Yet it
