stopped. Of course, when the movement is actually or apparently resumed, emphasis will be controlled according to the laws by which motion appeals to the eye. But that is a subject for another chapter.
To continue our analysis of fixed design, let us examine the methods whereby various pictorial elements may be fused into a unity. Every writer knows that a sentence is really a train of words which, though actually standing still on the paper, can carry the reader's mind swiftly across the page. By various literary devices the reader's interest is caught and carried from emphasis to emphasis, and by various devices the reader's thoughts may be organized into a complete unity. So, too, the lines and shapes of a picture, however still they may stand for the moment on the screen have the power to carry the spectator's eyes from interest to interest; and they may, if properly designed, guide his attention through the picture in such a way as to gather all of its parts into a complete unity.
When the eyes are caught by something in a picture, they do not at first rest there, but proceed, as we have said, on a tour of inspection of the whole area within the frame of that picture, after which they return again to the first visual interest. In making this tour the eyes seek, or at least, follow a pattern. Let us test these statements by turning to the "still" facing page 61. You cannot see every point of the picture at once. Therefore your eyes range over it. Perhaps, now that we call your attention to it, you can feel your eyes moving as they follow the outlines of the white mass which is produced by the girl's figure and dress. To make sure that you feel these movements, just look
