In a three-part design it is the designer's desire to gain the effect of lightness and height by the use of Rule 3b. As a simple treatment of a three-part design, [Figure 248] needs little comment. Figures [249] and [250] are examples of dividing, by means of minor divisions, the outer sections of a three-part design.
The small drawers in the right and left sections of [Figure 250] might have been improved in proportion by again applying Rule 2a to their design, thereby varying the measure of their heights. The enclosed panel enrichment affords pleasing variety to the otherwise unvaried front panels. Rule 7g.
Unbroken Vertical Divisions
[Figures 251] and [252] show unbroken drawer runners continuing through all three vertical sections, thus definitely binding these sections together. It is seen that this device is conducive to unity, whenever two or three vertical divisions have been used.
[Figure 252] is a repetition of [Figure 251], but shows the echo or continuation of the three divisions of the primary mass into the appendage. The use of the single or double band enrichment still further binds the minor subdivisions of the primary mass into ideal unity with the appendage.
Sequential Progression of Minor Horizontal Space Divisions
Rule 2c. A primary mass may be divided into three or more smaller horizontal masses or sections by placing the larger mass or masses at the bottom and by sequentially reducing the height measure of each mass toward the smaller division or divisions to be located at the top of the mass.
Sequential Arrangement of Minor Horizontal Divisions
Rule 2c. Let us now imagine the center section of a three-part design to be removed and extended upward. Its transformation by this process into a cabinet or chiffonier similar to [Figure 253], [Plate 42], introduces the new principle of sequential progression. Instead of adhering to the limitation of Rules 2a and 2b, this arrangement shows that the horizontal divisions may be gradually decreased in height from the bottom toward the top of the primary mass. By this rhythmic decrease in the measure of the height, the eye is led through an orderly gradation through lesser areas to the top, thus giving a pleasing sensation of lightness and variety to the structure. By this method, also, the large areas are retained at the bottom to give stability and solidity to the structure. A quick test of these conditions may be made by reversing [Figure 254], thus producing a more decidedly pleasing effect.