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46
LOYD A. JONES
[j. S. M. P.
for each of the classes. In the case of the first six classes these are of some significance since the compositions included within these classes are relatively similar in shape. For those classes which contain both vertical and horizontal compositions these maximum and minimum values are of little significance since they represent the extremes of a distribution containing two definite maxima. For these groups no value of the mean ratio is shown. In the last two columns, however, are given the mean value for the vertical compositions and the mean value for the horizontal compositions. It is interesting to note the progressive manner in which the rectangle shape changes as the number of figures included in the com
TABLE V Summary of Statistical Analysis of IfiO Compositions
Class
No.
Min. R
Max. R
Mean R
R < l
R > 1
I (a)
8
0.72
1.15
0.88
0.88
(P)
35
0.64
1.17
0.81
0.81
w
25
0.66
1.17
0.79
0.79
CD
38
0.58
0.88
0.77
0.77
(«)
31
0.35
0.85
0.57
0.57
II (a)
9
0.59
0.92
0.76
0.76
(*)
31
0.58
1.45
0.75
1.35
III (a)
44
0.66
1.89
0.78
1.28
(V)
73
0.69
1.64
0.81
1.48
IV (a)
67
0.65
1.92
0.79
1.36
V(a)
9
1.28
1.66
1.46
1.46
(b)
35
0.69
2.77
0.73
1.49
VI (a)
12
1.35
1.88
1.61
1.61
0)
15
1.33
1.96
1.63
1.63
VII (a)
26
1.30
1.88
1.57
1.57
Total
460
position increases. For instance, for single-figure compositions the ratio value remains below unity and with the exception of the full length compositions is fairly constant at a value of approximately 0.80. As we progress into the two-figure compositions there is an immediate subdivision into horizontal and vertical types. This persists throughout the three to five, six to ten, and ten to twentyfive classes, the relative number of vertical compositions steadily decreasing as the number of figures in the composition increases. Where more than twenty-five figures are included, the vertical type disappears entirely and the same is true for class VII including landscape compositions, either with or without figure groupings.