being on the right, the downward thrust is em-
phasized on the left by the position of the arm of
the kneeling figure on that side, and the sword arm
of St. George. The central point is frequently
marked by a conspicuous object, as in this instance,
the vase of flowers which not only attracts atten-
tion to the chief point of interest, but also makes
the location of the fulcrum of the balance clearer
to the observer. In Botticelli Madonna and
Saints ( Fig. 44 ), the child is on the right and St.
John stands farther from the center, which is
marked by objects in the foreground, than does
the other Saint. There is also here the downward
thrust of the staff of St. John. In the Madonna,
Child and Angels, by a pupil of Botticelli ( Fig. 15 ),
the more obvious method is employed of placing the
Child and three Angels on the left, and four Angels
and a book on the right. In Andrea del Sarto
Madonna of the Harpies ( Fig. 20 ), there are fewer
figures and any mistake in balance would be more
surely felt. The Child is very much to the left, but
the balance is well sustained by the tense arm of
the Madonna, and the greater interest in the Saint
to the right, who turns his full face toward the spec-
tators. It must be remembered also that in all
these pictures the color plays an important part.
In the Holy Family, by a pupil of Botticelli
( Fig. 16 ), the Child and two Angels are placed on the
left and only one Angel on the right, but the latter
figure is larger, and there is in addition the robe
of the Madonna and the heavy balustrade. It is

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