In discussing Scott's still-lifes, Norbert Lynton comments, 'Some paintings in the series have horizons as well as a band at the bottom, but most of the series do not have either. When there is no internal division, the scale and proportions of the whole surface are asserted unambiguously, while internal tensions, set up by the objects in it, become more marked. Their number, size and placing is of dominant importance, notably their closeness or distance from each other and their touching or not touching the edges. Whether or not the handle of the frying pan, featured in all these paintings as a vertical accent, touches (and is thereby sensed as going beyond) the top edge is a matter of major dramatic concern. When the handle goes to the top, it appears to establish a specific place within the envelope of space, sensed as being just in front of the ground. The colour, or lack of colour, of the forms affects their location on or off this plane; forms sharing a colour will tend to share one plane, while others relate variously to it. But there is also a sense in which colour equals strength in these economical compositions, and thus determines the visual weight and character of every item. A solid black form is likely to make a strong mark and attract our eyes, but not necessarily more so than a white form on a pale ground, hovering mysteriously' (N. Lynton, William Scott, London, 2004, pp. 317-318).