In this case the shape on the right requires a pretty strong dark spot to balance its contrasts and its intricacy.
The problem is further complicated when there are, also, inclinations, to the right or to the left, to be balanced.
Fig. 232
In this case I have tried to balance, on the center of a symmetrical inclosure, various extensions and inclinations of tone-contrast, the movement of a convergence, and the force of a somewhat intricate and unstable symmetry.
These occult forms of Balance are not yet well understood, and I feel considerable hesitation in speaking of them. We have certainly a great deal to learn about them. They are far better understood by the Chinese and by the Japanese than by us.
181. When any line or spot has a meaning, when there is any symbolism or representation in it, it may gain an indefinite force of attraction. This, however, is a force of attraction for the mind rather than for the eye. It affects different persons in different measures. The consideration of such attractions, suggestions, meanings, or significations does not belong to Pure Design but to Symbolism or to Representation.
TONE-RHYTHM
182. The idea of Tone-Rhythm is expressed in every regular and perfect gradation of Tones; of values, of colors or of color-intensities, provided the eye is drawn through the gradation in one direction or in a series or sequence of directions. This happens when there is a greater tone-contrast at one end of the gradation than at the other. When the terminal contrasts are equal there is no reason why the eye should move through the gradation in any particular direction. According to our definition of Rhythm, the gradation should be marked in its stages or measures, and the stages or measures should be regular. That is certainly true, but in all regular and perfect gradations I feel that corresponding changes are taking place in corresponding measures, and I get the same feeling from such a gradation that I get from it when it is marked off in equal sections. Though the measures in regular and perfect gradations are not marked, they are, it seems to me, felt. They seem sufficiently marked by the regularity and perfection of the gradation, any irregularity or imperfection being appreciable as a break in the measure. I am inclined, therefore, to say of any regular and perfect gradation that it is rhythmical provided the direction of movement is unmistakable. The direction, as I have said, depends upon the relation of terminal contrasts. The eye is drawn toward the greater contrast, whatever that is and wherever it is. A few examples will make this clear.