Pictorial Composition and the Critical Judgment of PicturesPart 3 — APPENDIXReading editionChapter navigation45 reading sectionsGo to chapterChoose a chapter…Front matterPrefacePreface to Second EditionPreface to Tenth EditionIllustrationsPART IChapter I · - INTRODUCTORYChapter II · - THE SCIENTIFIC SENSE IN PICTURESChapter III · - BALANCEChapter IV · - EVOLVING THE PICTUREChapter V · - ENTRANCE AND EXITChapter VI · - THE CIRCULAR OBSERVATION OF PICTURESChapter VII · - ANGULAR COMPOSITION, THE LINE OF BEAUTY AND THE RECTANGLEChapter VIII · - THE COMPOSITION OF ONE, TWO, THREE AND MORE UNITSChapter IX · - GROUPSChapter X · - LIGHT AND SHADEEQUIVALENTSChapter XI · - THE PLACE OF PHOTOGRAPHY IN FINE ARTChapter XII · - BREADTH VERSUS DETAILPART III - THE CRITICAL JUDGEMENT OF PICTURESChapter XIII · - THE MAN IN ARTChapter XIV · - SPECIFIC QUALITIES AND FAULTSChapter XV · - THE PICTURE SENSEChapter XVI · - COLOR, HARMONY, TONEChapter XVII · - ENVELOPMENT AND COLOR PERSPECTIVEChapter XVIII · - THE BIAS OF JUDGMENTChapter XIX · - THE LIVING PRINCIPLEAPPENDIXThe ConceptThe ProcedureDesignLineThe VerticalThe HorizontalThe DiagonalPrincipality and SacrificeThe Dominant IdeaHarmonyThe Must Be's and May Be's of CompositionPerspectiveBalanceColorToneQualityDon'tsPrevious chapter ←Part 3 — Chapter XIX · - THE LIVING PRINCIPLENext chapter →Part 3 — The ConceptAll chapters and sections (45)Opening pagesFront matterOther sectionsPrefacePreface to Second EditionPreface to Tenth EditionIllustrationsParts1Part 1 · Chapters12345678910Part 1 · Other sectionsEQUIVALENTSPart 1 · Chapters11Part 2 · Chapters12Parts3Part 3 · Chapters13141516171819Part 3 · Other sectionsAPPENDIXThe ConceptThe ProcedureDesignLineThe VerticalThe HorizontalThe DiagonalPrincipality and SacrificeThe Dominant IdeaHarmonyThe Must Be's and May Be's of CompositionPerspectiveBalanceColorToneQualityDon'tsThe argument of the book is here reduced to a working basis.◇← CHAPTER XIX - THE LIVING PRINCIPLEThe Concept →