1. The interest must he focalized, and have its most potent 6.
6. That unity exist in, the composition, the laws of
expression in one point. ' (This point we shall call the climax.)
2. The number of secondary focal points must he reduced to
minimum; where such points exist they must he conceived
primarily in regard to the climax and in their comparative
importance must work up to U,
3. Of the different minor elements of the composition each,
perhaps, feeding to its own especial focal point, must still feel
the influence e/ the climax.
4. In a pictorial composition the different elements must
balance in such a manner that the average of interest will fall in
the middle of the frame. In the other visual arts, balance in
relation to the center of gravity must be observed.
5.That the different elements of a Composition, climaoc,
secondary climaxes, and sub-motives, may attain to the highest
interest, they must contrast one with the other.
harmony must be observed; and no foreign element
introduced. The general result of the first of these laws
is, evidently, that:
(a) The climax must be the most interesting motive of
the composition. For example, one would avoid
placing an unimportant diamond-pointed block in a
surrounding circle of cupids; if there is a difference of
material, the principal motive should be of the more
precious; if there are differences of projection, the
principal motive should have the most pronounced
one; if there are differences of color, the most
striking should be for the climax, and so on.
(b) The climax must have the most important position..
In a composition which is to be appreciated in
sequence, this position is at the end; as, for instance,
in a drama, an opera, or a succession of pictures.
How our perceptions are sated by the repetition, in
like degree, of a sensation, is too well known—we
are too familiar with the trick of taking a pinch of salt
after pudding, in order that we may find sweetness in
an orange—to make a long discussion of this
statement necessary.
In a composition to be apprehended by a single glance, The need of a close observance of the second law is
the principal motive should be placed where the eye will evident, since each secondary focal point necessarily
most readily find it, not too near the edge of the detracts somewhat from the importance of
composition. If the climax is near the edge of the climax. In a small composition, these secondary points
composition, the preponderance of interest there will may be entirely eliminated. As to the interrelation of
become so great that it will be difficult to carry out the the climax and lesser elements, L
fourth law. A picture or a building would enter the
category of works of art to be seen in a single glance. The
statue is an admissible ex- ception (as most designs where
silhouette is of great importance, the crowning climax
being approached in sequence), because we are so used
to looking to the head for the chief expression as to
experience no difficulty in finding it there

The first law (also the second and third) is subject to the fifth
and sixth laws, of "Contrast" and "Unity." An interesting piece
of decoration is most striking surrounded by a blank wall, and
must be of the same family as the rest of the composition.