Those in which radial lines fail to lead to a focal object:
Those in which the items of a picture fail to present a natural sequence:
Those in which the subject proper is not dignified by a conspicuous placement or is swamped by too attractive surroundings:
Those in which the most energetic forms of construction are not allied to the principal but to secondary parts of the picture:
Those formal compositions in which greater interest is shown at the sides than in the centre:
Those in which the aesthetic principle of the constructive form is antagonistic to the sentiment of the subject.