We will now pass on to the third rule, namely, that relating to the heads of the figures.
Whatever the subject of the picture, the eye is always attracted to the heads. It is therefore of the highest importance that their relative positions should be carefully considered.
In the annexed diagram, it is of no use arguing that one of the heads is a full face, another three-quarters, a third a profile, and the fourth a back view of the head. The four heads are all points of interest. They are equidistant, and placed on a segment of the same circle, and, turn them whichever way you will, you cannot get rid of the unpleasantness of the arrangement, so long as you keep them in their present relative positions.
In the next figure we have four heads suggesting a quadrilateral of lozenge shape.[4] This is also very objectionable, and it is a case of frequent occurrence. In both these diagrams, by shifting the position of one of the heads, we should break up the symmetrical arrangement which so much offends the cultivated eye.
There is no objection, in a composition of many figures, to placing two or more heads on the same horizontal line. Indeed, in many cases it is most advantageous to do so; but what ought to be avoided is having heads on the same vertical line. If you have a kneeling or sitting figure in front of an erect one, arrange your kneeling figure so that the one head shall not be perpendicularly below the other.
If you have two erect figures, arrange your kneeling figure so that the head shall not come on the same vertical line as either of the other heads, or half-way between the two.[5] I might urge a good deal more about the extreme importance of a picturesque and irregular arrangement of the heads; but I have probably said enough to call your attention to this very prominent feature in good designing, and will now give a few hints about other kindred matters.