The Golden State: Where & How to Live, Secure, Visit, Enjoy and Thrive in California
Theory Of Decoration
The same is more or less true of all historic styles whose time is far removed from us. The conditions under which these styles grew up are so different from our own that they are of little use to us. Their very unity prevents our using them, for all their parts are so harmonized that our attempts at adaptation can scarcely fail to destroy their entire character.
Every grouping of objects of any kind must be composed, i.e., must be arranged in some manner to appear to form a whole by uniting different parts, and not be a mere formless mass of indefinite extension. There must appear to be certain limits to a composition and a central focusing point of interest. Compositions vary as to their interest. There may be compositions that are uninteresting due to the monotony of arrangement or to the lack of a central point of interest. These compositions, however, may contain no inharmonious elements, but due to the fact that there may be several equally important focal points, there occurs a diffusion of interest.
John V. Van Pelt in his "Essentials of Composition as Applied to Art" gives the following laws for the attainment of unity in a composition:
1. The interest must be focalized, and have its most potent expression in one point. (This point we shall call the climax,)
2. The number of secondary focal points must be reduced to a minimum; 'where such points exist they must be conceived primarily in regard to the climax and in their comparative importance must work up to it.
3. Of the different minor elements of the com position each, perhaps, relating to its own especial focal point, must still feel the influence of 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, climax, secondary climaxes and submotives, may attain to the highest interest, they must contrast one with the other.
6. That unity exist in the composition, the laws of harmony must be observed, and no foreign element introduced.
The "climax" must be the most interesting motif in the composition and must have the most important position or be placed where the eye is most apt to look for it. This feature may predominate by mass, form, line, color, texture, position or direction of line. The need of contrasts in the elements of a composition is due to the fact that the human mind becomes fatigued in viewing a monotonous repetition and requires a change. Contrasts accentuate the contrasting motifs.
