A second kind of balance is known as occult balance. This term is used to signify that the balance is rather felt or sensed than exactly determined. If the same vertical line is drawn through the same chimney-piece, one picture is placed a certain distance from the left and two smaller pictures of unequal size are used on the right to balance this. The two pictures must be so placed that their attraction equals that of the larger one at the left. Similarly, if one large porcelain jar and two or three other articles are to be used, there must be a feeling of equal attraction on either side of the vertical line.
To explain briefly the primary laws of balance we may give the rules: “Equal attractions balance each other at equal distances from the center.” And, conversely: “Unequal attractions balance each other at unequal distances from the center.”
A third and a little more complicated law is stated as follows: “Unequal attractions balance each other at distances from the center which are in inverse ratio to their powers of attraction.” Translated, this means that objects with the strongest attractions tend to gravitate toward the central line, while less attractive ones tend to draw from this line.
The application of the rules of balance not only to objects on the wall, but to the furniture when seen against the wall or against the floor, is essential to room composition. It is also essential that the floor, in its general appearance, should bear a balanced relation to the walls and to the hangings.
There is no better place, perhaps, than at this point to make clear the relations of these three bounding surfaces. The ceiling should be unobtrusive, but keyed in color to the rest of the room. A perfectly white ceiling, except in a white room, or an over-ornamented ceiling anywhere is an annoyance to him who would see his friends or furnishings. A too-aggressive wall paper or other wall covering makes a bid for attention quite out of proportion to its rights as a background, while aggressive and over-assertive floors or rugs are in bad taste, particularly when they assume the prerogatives of the hostess in their attempt at attraction.
“Crawly” Pictures and Patterns Are Bad
The ceiling should be about as much lighter and less attractive than the walls, as the walls are lighter and less attractive than the floor. This is a balanced arrangement of ceilings, walls and floors. Operating exactly opposite to the principle of balance is one known as movement. This is calculated to cause unrest, excitement and similar sensations, by creating an interest which causes the eye to move from one thing to another. It is very desirable in many cases that movement, particularly of a violent type, should not occur. Allusion to stair arrangements in picture hangings has already been made. This is not conducive to sleep. Erratic crawling vine patterns, creeping up the curtains or the wall paper, are a little suggestive in the early morning hours if one chances to awake. Violent contrasting lines, created by bad furniture placing or by spotted wall papers or floor covering, also become tiresome and disturbing, except to those who by long contact with such things have become immune to their influence. Even such may suffer a subconscious disturbance, though they do not realize it.
There is a certain monotony attendant on the continual presentation of one sound, one color or one form, for mental consideration. On the other hand, there is a complete disorganization of the powers of the human mind if a host of colors, forms or sounds are presented at one time. If one is poverty, the other is certainly gluttony, and neither should be accepted. It is through a judicious selection and arrangement that sufficient variety is obtained to give pleasure, while restraint results in making life humanly possible. It is very rarely that we err on the side of simplicity, but it is not at all unlikely that we may become flagrantly sumptuous, with an uncomfortable, tawdry result.
Emphasize Only Important Things in a Room
The principle known as emphasis is one which we must regard as important. In a bedroom one ought to see a bed; it is vastly more important than the picture exhibition hung about it. In a dining-room a well-set table is the emphatic note, not the chenille curtains nor the products of the chase hung upon the wall. In the living-room the easy-chair, the divan, the bookcase, the beautiful portrait, lamp or picture—all these things should be emphasized by color, form or line, that their importance as related to other things in the room may be apparent at sight.