96 



LANDSCAPE DESIGN 



be properly subordinated to the unity of the movement in which they occur. 

 If possible the interest introduced into the Rhythm should be progressive." * 



Progression "Besides the Sequences of Continuation and of Repetition which give us 



the sense of Harmony and the Sequences of Repetitions in Alternations which 

 give us the sense of Harmony and also the sense of Rhythm, we have a third 

 type of sequence in which we have the feeling of an orderly progress from one 

 thing to another, either upon the principle of an arithmetical or of a geometri- 

 cal progression. The sequences of this third type I shall call the Sequences of 

 Progression. 



"In Drawing and Painting these Sequences of Progression take the form 

 of gradations leading from one tone to another, from one position, measure, 

 shape or attitude to another, always by degrees. The changes are not only 

 gradual but uniform in their character. They represent a certain difference 

 or a certain multiplication. Because of the repetition or continuation of a 

 certain change these sequences of gradation or progression have in them an 

 element of Harmony which must be appreciated. [See Plate 30, and note the 

 progression of the attention along the grass panel towards the pergola.] . . . 

 It is in Art as in Nature : the order of changes is not always seen in the 

 effect or result but it is there all the same or should be there. The changes in 

 themselves mean variety. The order of the changes means unity." f 



Balance When we look at a picture or a view there will be certain objects in 



it which more than others appeal to our attention, either because they 

 directly attract the eye in a sensory way by their brightness, or con- 

 trast, or definiteness, or because they attract us by their appeal through 

 association. In either case there will be a tendency to look directly 

 at the object which thus claims our attention. In a composition of 

 several objects the mind will be satisfied only when these different 

 attractions are balanced about the center line of the composition. 



Partly at least because of the greater ease with which the eyes and 

 the head turn sideways rather than up and down, we are more keenly 

 sensitive in compositions to equilibrium of attention about a vertical 

 axis than about a horizontal or other axis. There is an associational 

 reason also for our noticing particularly equilibriums of this kind, 

 namely, that we are familiar in the world about us with a multitude 

 of objects whose forms are balanced about a vertical axis on account of 

 symmetry of growth and the action of gravitation. On these accounts 

 * Ross, On Drawing and Painting, p. 70. t Ibid., p. 71-72. 



