We may perceive that there are at least two kinds of composition, which may be distinguished as:
- Formal.
- Informal.
I. Under the head of Formal may be classed all those systems of structural line with which I started, and which are found either as leading motives or fundamental plans and bases throughout ornamental design. Yet even these may be used in composition of figures and other forms where the object is more or less formal and decorative, as governing plans or controlling lines.
The radiating ribs of a fan, for instance, might be utilized as the natural boundaries and inclosing lines of a series of vertical figures following the radiating lines. A strictly logical design of the kind would be a series of figures with uplifted arms, forming radiating lines from the shoulders, somewhat in the position of Blake's well-known and beautiful composition of the Morning Stars in the Book of Job, already illustrated.
Using the overlapping vertical scale plan we should get relative positions for a formal composition of three figures, although they need not necessarily be formal in detail. A typical design of three associated ideas treated emblematically would be the most natural use of such an arrangement—as Faith, Hope, and Charity; Liberty, Equality, Fraternity; Science, Art, and Industry; or the three goddesses Heré, Pallas, and Aphrodite, as choice and purpose might decide. A semicircular scale plan would not only repeat in a safe and sound manner, but would afford suggestive shapes in which to throw designs of figures, and could be effectively utilized either for a wall or ceiling repeat.
The inclosure formed by two spiral lines gives a graceful ornamental shape for a half-reclining figure; while a series of floating or flying figures linking their hands would be appropriately governed by similar spiral lines, uniting them with the meandering wave line (see illustration, p. [155]).
Upon a series of semicircles or ellipses, alternating horizontally, might be arranged a little frieze of children with skipping ropes, or Amorini with pendent garlands; the up-and-down movement in the former case being conveyed by a variation, each alternate semicircle being struck upwards. This would restore the emphatic wave or spiral line, which always conveys the sense of rhythmic movement in a design.
Such a line, vertically employed, will give again a good plan for a series of seated figures, say emblematic of the Hours, where similarity of attitude and type would be appropriate, while the emblems and accessories might be varied. A severer treatment would be suggested by making the controlling line angular (see illustration, p. [156]).