The relation towards frame is no less loaded with metaphysical connotations. Frame is described as the edge and end of the world, the infinity, behind which only nothing exists. There is also a particular importance the marginal objects have when the center is empty, and more about this will be said later. A delicate nature of this relation is also revealed by no less than four stages of contact between object and frame alone - even in this most abstract form. Our falling ball, setting sun, abstract circle, was last seen right in the equilibrium between the center and the frame, as in fig. 5. It is somewhat surprising that nowhere before, at least to my knowledge, this simple explanation of golden rule, or (this one is a bit rough) "the rule of thirds" in composition, could be found. After all, we are talking about the paramount of traditional aesthetic, on which quite some thought and paper have been spared. This still and complacent position is characterized by comfort, eternal rest, lack of yearning, and all that was already said about the classic philosophy of the beautiful. (Even though sometimes even mathematics would be the more appropriate choice of science.) Moving ahead, we encounter a position inverse to fig. 4. The object in fig. 6 is under gravitational force of the frame. The closer to the edge object is, the stronger the gravity. Of course, as always, let's keep in mind the object's own opposite force, since it is its fight that keeps it still on this page. Fig. 7 shows the clean touch. The whole object is still visible, possessing the magic of one which "went to the edge of the world and made it back" (and that in one piece, too). What touches the infinite has transcendent powers, and that is why this object has something sacred in it, like an altar. On fig. 8 the frame has a bit firmer grip, resulting in great stability, and, for most part, passive outlook. This form of contact depends on the particular frame side we are anchored to, adopting it's properties. Fig. 9 makes only a half of our object seen. Such strong division on "to be and not to be", day and night, is a pure control of the opposites. It evokes all the powers of symmetry, and so acquires some of the authority that image center has. If we see only a small part of the object, as in fig 10, the impression of mystery will prevail. (We will talk about the relation between hidden and mystical later.) It is known that the most of the object vanishes in the "eternal darkness". Here, the object's power is derived from possession of that "darkness" and "eternity", and it radiates it back into the image, from its far position on the edge. If, on the other hand, this object is perceived as weak, this will be its mean of retiring into eternity and reaching for those powers.
	in the frame: distance from the frame
	This is just about the last described position, as in fig. 10. We see only a small portion of the window, which size is known from the other, visible one. As the whole image drifts towards relaxed and soft departure, the obscured window retires into peace.