Plate 42
This orderly gradation or sequence of heights need not be carried out with absolute mathematical precision such as 7-6-5-4-3-2-1. Arrangements similar to the following progression make for equally pleasing and more varied effect: 9¼-8-6¾-6-5-4¾. Many designers repeat similar heights for two neighboring horizontal spaces as, 6-5-5-4¾, but the upward gradation should be apparent. [Figure 255], an Austrian motive, shows a strongly marked sequence with the top division broken by Rule 3b. It is better practice to keep such attempts confined to the bottom or top members of the sequence or loss of unity may be the final result.
By applying this principle to the center section of a three-part design, we now have illustrated in [Figure 256] the new sequence in its application, and [Figures 257] and [258] are variations of the same idea.
Two Horizontal and Three Vertical Divisions
We now come to the transitional type of design where three vertical sections begin to lose their dominance as major divisions, but still retain their places in the design as minor sections. Replacing these in prominence is the horizontal major section or division. The first immediate result of this change as shown in [Plate 43] is to produce a more compact surface with a greater impression of length because of the presence of strongly accented horizontal lines which are always associated with horizontal divisions. This transitional style with its minor but dominant horizontal divisions would harmonize with the long horizontal lines of a room or similar lines in the furniture. The full expression of this style or type will be readily seen by comparing [Plates 43] and [Figures 251] and [252], [Plate 41]. Several styles of period furniture have been introduced in [Plate 43] to prove the universality of these principles of space divisions.
Plate 43