In this case we have a movement to the right, but no Rhythm, the intervals being irregular.
Fig. 119
In this case the changes of attitude and the intervals of the changes being regular, the movement becomes rhythmical. The direction of the rhythm is clearly down-to-the-right.
92. In the repetition of any line we have a Harmony, due to the repetition. If the line is repeated in the same attitude, we have a Harmony of Attitudes. If it is repeated in the same intervals, we have a Harmony of Intervals. We have Harmony, also, in the repetition of any relation of attitudes or of intervals.
We have not yet considered the arrangement or composition of two or more lines of different measures and of different shapes.
THE COMPOSITION OF LINES
93. By the Composition of Lines I mean putting two or more lines together, in juxtaposition, in contact or interlacing. Our object in the composition of lines, so far as Pure Design is concerned, is to achieve Order, if possible Beauty, in the several modes of Harmony, Balance, and Rhythm.
HARMONY IN THE COMPOSITION
OF LINES
94. We have Harmony in line-compositions when the lines which are put together correspond in all respects or in some respects, when they correspond in attitudes, and when there is a correspondence of distances or intervals.