It should be said that uniformity of _key_ does not imply absence of _reaction_; there is room, while the _key_ remains uniform, for the juxtaposition of burlesque and romance, just as there is room in Holbein's 'Ambassadors' for the incomprehensible object in the foreground, said to embody a pun (Hohl Bein). But the _key_ needs to be kept in mind as its maximum expression is the _culmination_ of the effect. The _culmination_ of a speech is in its peroration; of a poem in its incorporated envoi. Thus in the _Arab Love Song_, the culmination is:--
'And thou what needest with thy tribe's black tents Who hast the red pavilion of my heart?'
There is no difficulty there. But in painting the _culmination_ is more subtle. It consists in the isolation of the chief object. Say that we have from left to right: Black, yellow, dark brown, light blue, dark red; then add on the extreme right, crimson, then gold. The picture _culminates_ on the extreme right, with the result that attention is directed there and that any object in that section of the picture benefits by an influence about equivalent to that of footlights. _Culmination_, involves the painter in great difficulties, for there must be _culmination_, while an effect in the wrong place may destroy the _balance_ of his work. This appertains to
Group D. (Static). Its chief quality, _balance_, is easily defined in painting. Where there is correspondence between every section of the picture, where no value is exaggerated, _balance_ exists. Hence the failure of Futurism. While the Futurists understand very well _intensity_, _reaction_, and _relief_, they refuse to give _balance_ any attention at all; leaving aside the absurdity of rendering the mental into terms of the pictorial, and taking as an instance one who was once less Futurist than the Futurists, Severini, we see in his 'Pan-pan Dance' how he detached himself from his school: he attained _balance_ by giving every object an equal _intensity_. Such is also the tendency of Wadsworth. Evidently if there are no clashes of tone-values, there must be _balance_, and the instance serves to show that where there are clashes of tone-values _balance_ must be ensured by the artist's hand. There is always _balance_ in the purely decorative; in the realistic there is _balance_ if the attention of the beholder is directed simultaneously to the several points of _culmination_ indicated by the _rhythm_ of the picture. Thus there is _balance_ in Rothenstein's 'Chloe' because the rocks on the right repeat the significance of the rocks on the left.