In this case we have an instance of single inversion, which gives us a Symmetrical Balance, of tones, as well as of measures and shapes.
Diagram 23
In this case we have an instance of double inversion of tones, as well as of measures and shapes.
178. The tones and tone-contrasts on one side of a center or axis are not necessarily the same as those on the other side. We may have a Tone-Balance in which very different tones and tone-contrasts are opposed to one another. This brings us to the consideration of Occult Balance in Tones, Measures, and Shapes.
A balance of any tones and of any tone-contrasts, in any measures and in any shapes, is obtained when the center of tone-attractions is unmistakably indicated, either by the symmetrical character of the balance or by a symmetrical inclosure which will indicate the center. Given any combination of tones, measures, and shapes, and the problem to find the balance-center, how shall we solve the problem? It cannot very well be done by reasoning. It must be done by visual feeling. The principle of Balance being clearly understood, finding the center of any tone-contrasts is a matter of experimental practice in which those persons succeed best who are most sensitive to differences of tone, and who make the greatest effort to feel the centers and to indicate them accurately. Experience and practice are necessary in all cases.
Fig. 228
Here, within this circle, are the attractions to be balanced. The problem is to find the balance-center, and to indicate that center by a symmetrical inclosure which will bring the tones, measures, and shapes into a Balance. The center is here indicated by the circle. Whether it is correctly indicated is a matter of judgment in which there may be a difference of opinion. There is a center somewhere upon which the attractions are balancing. The question is, where is it? The illustration which I have given is in the terms of the Scale of Neutral Values. Differences of color and color-intensity would complicate the problem, but would not in any way affect the principle involved. I know of no more interesting problem or exercise than this: to achieve Tone-Balance where there is no Tone-Symmetry.
179. It will sometimes happen, that a gradation of tones or measures will draw the eye in a certain direction, toward the greater contrast, while a larger mass or measure of tone, on the other side, will be holding it back. In such a case we may have a mass balancing a motion.