V. (Ms. + I. + D. = .) Most used element, L., 60 per cent.; least used, V., 10 per cent.; 33-1/3 per cent., D. of glance to empty side.
The portrait class is an especially interesting object for study, inasmuch as while its general type is very simple and constant, for this very reason the slightest variations are sharply felt, and have their very strongest characteristic effect. We shall, therefore, find that the five principal factors in composition express themselves very clearly. The general type of the portrait composition is, of course, the triangle with the head at the apex, and this point is also generally in the central line—in 73 per cent. of the whole number of cases, as is seen from the table. All cases but one are longer than they are wide, most are half-length or more. Nevertheless, great richness of effect is brought about by emphasizing variations. For instance, the body and head are, in the great majority of cases, turned in the same way, giving the strongest possible emphasis to the direction of attention—especially powerful, of course, where all the interest is in the personality. But it is to be observed that the very strongest suggestion of direction is given by the direction of the glance; and in no case, when most of the other elements are directed in one way, does the glance fail to come backward. (Cf. A. II., V., and B. I., II., V.)
A. It is of especial value for our conclusions that that division in which the constant elements are least balanced (V.) is far the most numerous. Comparison of this with III. shows that the principal element, direction of movement of head or body, is balanced by the larger mass of the body or accessories. Very significant, also, is the great increase in the use of V. in this most irregular class (15 per cent. as against 1 per cent. in III.). Three cases (214, 1087, 154, all A.V.,) fail to show substitutional symmetry.
B. With the head on one side of Cn., of course the greatest interest is removed to one side, and the element of direction is brought in to balance. Again, with this decrease in symmetry, we see the significant increase in the use of the especially effective elements, V. and L. (Cf. B. I., II., III., IV., and especially V.) In fact, the use of the small deep vista is almost confined to the class with heads not in the middle. The direction of the glance also plays an important part. It is to be noted that in B. I. and II., I. appears as the most frequently used element, exclusive of the general equation, which is, of course, between the mass of the body and interest of the face, on one side, and the direction of suggested movement on the other. This means that very often the direction of movement alone is not sufficient to balance the powerful Ms. + I. of the other side, and that the eye has to be attracted by a definite object of interest. This is usually the hand, with or without an implement—like the palette, etc., of our first examples—or a jewel, vase, or bit of embroidery. This is very characteristic of the portraits of Rembrandt and Van Dyck.
In general, it may be said that (1) portraits with the head in the center of the frame show a balance between the direction of suggested movement on one side, and mass or direction of attention, or both together, on the other; while (2) portraits with the head not in the center show a balance between mass and interest on one side, and direction of attention, or of line, or vista, or combinations of these, on the other. The hypothesis of substitutional symmetry is thus completely confirmed.
Still more unsymmetrical in their framework than portraits, in fact the most unfettered type of all, are the genre pictures. Being so irregular, they admit of no complete classification based on constant elements in the framework, such as was possible for the types already dealt with. A grouping, based on types of composition, is indeed possible, as of triangles, diagonals, etc., but as this begs the question of the relative importance of line and direction of attention, and assumes that the shape is all-important, it will not be made use of here. The broad divisions and the relative use of the elements are given as follows:
S.C. 63. Most frequent form (I. = or I. + D. =). Most used element, I., 89 per cent.; least used, L., 44 per cent.; D., 57 per cent.; Ms., 57 per cent.; V., 46 per cent.
D.C. 19. Most frequent form (I. + D. = I. + D.) Most used element, I. (all cases); least used, L., 31 per cent.; V., 47 per cent.; Ms., 63 per cent.; D., 42 per cent.
S.&S. 11. Most frequent form (I. or I. + Ms. = V. or V. +). Most used element, I., 100 per cent.; least used, L., 20 per cent.; V., 82 per cent.; Ms., 72 per cent.; D., 27 per cent.