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36 LOYD A. JONES [J. S. M. P. B.
The whirling square rectangle is illustrated at (b) in Fig. 1. The construction of this rectangle is shown by the dotted lines. BDA'C is a square, the point O being located at the middle of the base line BC. The diagonal OA' rotated about O establishes the point A. The line BA then becomes the base of this rectangle, one side of the basic square BD being the altitude. The rectangle ABDF has the ratio 1.618 and is the famous whirling square rectangle so intimately connected with classical Greek art. Many of the finest compositions in Greek architecture, sculpture, painting, mural design, and pottery can be broken down into this rectangle which, in the opinion of many artists, exhibits the characteristics of dynamic symmetry to the most marked extent.
In Fig. 2 are shown series of rectangles representing both the dynamic and the static symmetry types. The top of the left-hand column is the root two rectangle. Immediately below this is the root three rectangle, and at the bottom of this column the root five rectangle. In the right-hand column are shown a few examples of rectangles exhibiting static symmetry; that at the top having a ratio of 4 to 3 (1.33), the proportions of the present standard motion picture positive. Below this is the 3 to 2 rectangle (1.5), the next in the series being the 7 to 4 rectangle (1.75). At the bottom of this column is the 2 to 1 rectangle which is also the root four rectangle sometimes placed in the dynamic series. There seems to be little doubt, however, that this rectangle exhibits static characteristics much more strongly than dynamic. It is only when used in a treatment combined with the whirling square rectangle or one of the other root rectangles that it can be said to exhibit satisfactorily dynamic symmetry characteristics. It seems better, therefore, in a simple classification such as that in which we are interested, to place it specifically in the static class.
RECTANGLE PROPORTIONS IN ART
In a consideration of the rectangle proportions adapted to the requirements of pictorial composition, it seems reasonable to assume that some valuable information may be obtained by a study of what has been done by the master artists during the past three or four centuries. While it may be true that we are not justified in drawing definite conclusions as to the most satisfactory rectangle shape for motion picture purposes from data based upon artistic compositions which necessarily are of static character, it seems probable that a