Fig. 106
In this case we have a series of straight lines with a constant and equal change of direction to the right, combined with a regular diminution of measures in the length of the lines, this in the terms of an arithmetical progression. The movement is in the direction of concentration and it is distinctly marked in its measures. The movement is therefore rhythmical.
Fig. 107
In this case we have a series of straight lines with a constant change of direction to the right; but in this case the changes of measure in the lines are in the terms of a geometrical progression. The direction is the same, the pull of concentration perhaps stronger.
Fig. 108
In this Rhythm there is an arithmetical gradation of measures in the changes of direction, both in the length of the legs and in the measure of the angles. The pull of concentration is, in this case, very much increased. It is evident that the legs may vary arithmetically and the angles geometrically; or the angles arithmetically and the legs geometrically.
85. If, in the place of the straight lines, which form the legs, in any of the examples given, are substituted lines which in themselves induce movement, the feeling of Rhythm may be still further increased, provided the directions of movement are consistent.
