Fig. 137
In this case I have again changed the composition, and having suggested the balance-center of the lines, as attractions, by a symmetrical inclosure, I have added Measure-Balance (occult) to Inclination-Balance. The Order in [Fig. 137] is greater than the Order in [Figs. 135] and [136]. In [Fig. 137] two forms of Balance are illustrated, in the other cases only one. The value of any composition lies in the number of orderly connections which it shows.
Fig. 138
In this case I have taken a long angular line and added a sufficient number and extent of opposite inclinations to make a balance of inclinations. The horizontal part of the long line is stable, so it needs no counteraction, but the other parts incline in various degrees, to the left or to the right. Each inclining part requires, therefore, either a corresponding line in a balancing direction, or two or more lines of equivalent extension in that direction. In one case I have set three lines to balance one, but they equal the one in length, that is to say, in the extent of contrast. We have in [Fig. 138] an illustration of occult Measure-Balance and the Balance of Inclinations. I have illustrated the idea of Inclination-Balance by very simple examples. I have not considered the inclinations of curves, nor have I gone, at all, into the more difficult problem of balancing averages of inclination, when the average of two or more different inclinations of different extents of contrast has to be counteracted. In Tone-Relations the inclinations are of tone-contrasts, and a short inclination with a strong contrast may balance a long inclination with a slight one, or several inclinations of slight contrasts may serve to balance one of a strong contrast. The force of any inclining line may be increased by increasing the tone-contrast with the ground-tone. In tone-relations the problem becomes complicated and difficult. The whole subject of Inclination-Balance is one of great interest and worthy of a separate treatise.
RHYTHM IN THE COMPOSITION
OF LINES
102. We will first consider the Measure-Rhythms which result from a gradual increase of scale, an increase in the extent of the contrasts. The intervals must, in such Rhythms, be regular and marked. They may be equal; they may alternate, or they may be regularly progressive.
Fig. 139
In this case I feel that the direction of the Rhythm is up-to-the-right owing to the gradual increase of length and consequently of the extent of contrast in the lines, in that direction.