In this case, also, the shapes repeated on the right side and on the left side of the outline show movements which become in repetitions almost rhythmical. The movement is up in spite of the fact that each part of the movement is, in its ending, down. We have in these examples symmetrical balance on a vertical axis combined with rhythm on the same axis. It may be desirable to find the balance-center of an outline when only the axis is indicated by the character of the outline. The principle which we follow is the one already described. In [Fig. 169] we have a symmetrical balance on a vertical axis, but there is nothing to indicate the balance-center. It lies on the axis somewhere, but there is nothing to show us where it is. Regarding the outline as a line of attractions, the eye is presumably held at their balance-center, wherever it is. Exactly where it is is a matter of visual feeling. The balance-center being ascertained, it may be indicated by a symmetrical outline or inclosure, the center of which cannot be doubtful.
Fig. 171
The balance-center, as determined by visual feeling, is here clearly indicated. In this case besides the balance on a center we have also the Symmetry which we had in [Fig. 169].
Fig. 172
The sense of Balance is, in this case, much diminished by the change of attitude in the balanced outline. We have our balance upon a center, all the same; but the balance on the vertical axis being lost, we have no longer any Symmetry. It will be observed that balance on a center is not inconsistent with movement. If this figure were repeated at equal intervals without change of attitude, or with a gradual change, we should have the Rhythm of a repeated movement.
In some outlines only certain parts of the outlines are orderly, while other parts are disorderly.
Fig. 173