(_γγ_) Inasmuch as in the _third_ place the art of painting, by virtue of the principle of ideal and external variety, in which it is bound to give clear definition to situations, events, conflicts, and actions, is forced to deal on its way with many kinds of distinction and contradiction in its subject-matter, whether purely natural objects or human figures, and, moreover, receives the task to subdivide this composite content, and create of it one harmonious whole, a way of posing and _grouping_ its figures artistically, becomes one of the most important and necessary claims made upon it. Among the crowd of particular rules and definitions, however, which are applicable to this subject, what we are able to affirm in its most general terms can only be valid in quite a formal way, and I will merely draw attention shortly to a few of the main points. The earliest mode of composition still remains entirely architectonic, a homogeneous juxtaposition of figures or a regular opposition and symmetrical arrangement, not merely of the figures themselves, but also their posture and movements. We may add that at this stage the pyramidal form of grouping is much in favour. When the subject is the Crucifixion of our Lord such shapes follow as a matter of course. Christ is suspended on high from the cross, and at the sides we have a group of the disciples, Mary the mother, or saints. In pictures of the Madonna also, in which Mary is seated with her Child on a raised throne, and we find adoring apostles, martyrs, and so forth, beneath them on either side we have a further illustration of this form. Even in the Sistine Madonna picture this mode of grouping is still in its fundamental features retained. And, generally, it brings repose to the eye because the pyramids, by virtue of its apex, makes the otherwise dispersed association coherent, giving an external point of unity to the group[317]. Within the limits, however, of such a generally abstract symmetrical composition, the pose of the figures may be marked in detail by great vividness and individuality, and equally the general expression and movement. The artist, while using in combination the means of his art, will have his several planes, whereby he is able more definitely to emphasize the more important figures as against the others; and he can in addition avail himself of his scheme of lighting and colour. The way he will arrange his groups to arrive at this result is sufficiently obvious. He will not, of course, place his main figures at the sides, or place subordinate ones in positions which are likely to attract the highest attention. And similarly he will throw the strongest light on objects which are part of the most significant content, rather than leave them in shadow, and emphasize with such strong light and the most conspicuous tints objects which are incidental.