Fig. 215
In [Fig. 215] I have used inversions and repetitions of the rather disorderly outline which gave me so much difficulty when I tried to combine it with the other outlines. Whatever merit the composition has is due solely to the art of composition, to the presence of Attitude-Harmony, Interval-Harmony, and to the inversions and repetitions; inversions giving Balance, repetitions giving Harmony.
While it is important to recognize the limitation of the terms in this problem, it is important to yield to any definite impulse which you may feel, though it carries you beyond your terms. The value of a rule is often found in breaking it for a good and sufficient reason; and there is no better reason than that which allows you, in Design, to follow any impulse you may have, provided that it is consistent with the principles of Order.
Fig. 216
In this case an effort has been made to modify the terms already used so as to produce a more rapid and consistent movement. Advantage has been taken of the fact that the eye is drawn into all convergences, so all pointing down has been, so far as possible, avoided. The movement is distinctly rhythmical.
In the previous examples I have avoided contacts and interlacing. It was not necessary to avoid them.
Fig. 217