Fig. 120
In this case the lines of the composition correspond in tone, measure, and shape, but not in attitude; and there is no correspondence in distances or intervals.
Fig. 121
In this case the attitudes correspond, as they did not in [Fig. 120]. There is still no correspondence of intervals.
Fig. 122
Here we have the correspondence of intervals which we did not have either in [Fig. 120] or in [Fig. 121]. There is not only a Harmony of Attitudes and of Intervals, in this case, but the Harmony of a repetition in one direction, Direction-Harmony. In all these cases we have the repetition of a certain angle, a right angle, and of a certain measure-relation between the legs of the angle, giving Measure and Shape-Harmony.
95. The repetition in any composition of a certain relation of measures, or of a certain proportion of measures, gives Measure-Harmony to the composition. The repetition of the relation one to three in the legs of the angle, in the illustrations just given, gives to the compositions the Harmony of a Recurring Ratio. By a proportion I mean an equality between ratios, when they are numerically different. The relation of one to three is a ratio. The relation of one to three and three to nine is a proportion. We may have in any composition the Harmony of a Repeated Ratio, as in [Figs. 120], [121], [122], or we may have a Harmony of Proportions, as in the composition which follows.