DESIGN 75 



with the sides of the square. These lines may also 

 be parallel ^Yith the diagonals, which gives a cer- 

 tain amount of variety, although the scheme is 

 virtuallv the same, and sometimes both may be 

 found in combination \Yhere the scheme is large 

 (see Fig. 8). The methods of division shown in 

 Figure 17 seem to be the only satisfactory ones for 

 the formal subdivision of squares. 



Where oblongs are divided parallel with their 

 sides, the line of division across the short dimen- 

 sion does not often occur in the middle. This is 

 seen in numbers four and six. Nimiber four is a 

 scheme frequently employed w^here a feature is 

 introduced at the intersection of the axes. A 

 spectator who is on the greater division of the long 

 axis, in looking toward the cross axis, is likely to 

 think that the cross axis bisects the plot, and thus 

 an appearance of greater distance is imagined. 

 Where the area thus divided is restricted, the de- 

 ^dce is often very useful. 



Another frequent method of division is based 

 upon two cross-axes, as in number six. Other 

 subdivisions such as those in munbers seven, eight, 

 and nine are applications of numbers tw^o and 

 three. Subdivisions by geometrical lines are very 

 simple in the formal style, but all sorts of elabora- 



