54. It is to be observed that single inversions in any direction, for example the relation of attitudes I and II, II and III, III and IV, IV and I, in [Fig. 53], shows an opposition and Balance of Attitudes upon the axis of inversion. The relation of positions I and II and III and IV, the relation of the two groups on the left to the two groups on the right, illustrates the idea of Symmetry of Attitudes, the axis of balance being vertical. By Symmetry I mean, in all cases, right and left balance on a vertical axis. All double inversions, the relation of positions I and III, and II and IV, in [Fig. 53], are Attitude-Balances, not on axes, but on centers. The balance of these double inversions is not symmetrical in the sense in which I use the word symmetry, nor is it axial. It is central.
THE ORDER OF RHYTHM
IN ATTITUDES
55. When movement is suggested by any series of attitudes and the movement is regulated by equal or regularly progressive intervals, we have a Rhythm of Attitudes.
Fig. 57
In this case the changes of attitude suggest a falling movement to the right and down. In the regular progression of this movement through marked intervals we have the effect of Rhythm, in spite of the fact that the relation of positions repeated has axial balance. The intervals in this case correspond, producing Interval-Harmony. The force of this Rhythm might be increased if the relation of positions repeated suggested a movement in the same direction. We should have Rhythm, of course, in the repetition of any such unstable attitude-rhythms at equal or lawfully varying intervals.
LINES
DEFINITION OF LINES
56. Taking any dot and drawing it out in any direction, or in a series or sequence of directions, it becomes a line. The line may be drawn in any tone, in any value, color or color-intensity. In order that the line may be seen, the tone of it must differ from the ground-tone upon which it is drawn. The line being distinctly visible, the question of tone need not be raised at this point of our discussion. We will study the line, first, as a line, not as an effect of light.