109. We have Harmony in the interior dimensions of an outline when
the dimensions correspond or when a certain relation of dimensions is
repeated.
[Illustration: Fig. 177]
In this case we have an outline which shows a Harmony in the
correspondence of two dimensions.
[Illustration: Fig. 178]
In this case we have Harmony in the correspondence of all vertical
dimensions, Harmony in the correspondence of all horizontal dimensions,
but no relation of Harmony between the two. It might be argued, from
the fact that the interval in one direction is twice that in the other,
that the dimensions have something in common, namely, a common divisor.
It is very doubtful, however, whether this fact is appreciable in the
sense of vision. The recurrence of any relation of two dimensions
would, no doubt, be appreciated. We should have, in that case,
Shape-Harmony.
[Illustration: Fig. 179]
In this circle we have a Measure-Harmony of diameters.
[Illustration: Fig. 180]
In this case we have a Harmony due to the repetition of a certain ratio
of vertical intervals: 1:3, 1:3, 1:3.
110. Any gradual diminution of the interval between opposite sides
in an outline gives us a convergence in which the eye moves more or
less rapidly toward an actual or possible contact. The more rapid the
convergence the more rapid the movement.
[Illustration: Fig. 181]
In this case we have not only symmetrical balance on a vertical axis
but movement, in the upward and rapid convergence of the sides BA and
CA toward the angle A. The question may be raised whether the movement,
in this case, is up from the side BC to the angle A or down from the
angle A toward the side BC. I think that the reader will agree that
the movement is from the side BC into the angle A. In this direction
the eye is more definitely guided. The opposite movement from A toward
BC is a movement in diverging directions which the eye cannot follow
to any distance. As the distance from BC toward A decreases, the
convergence of the sides BA and CA is more and more helpful to the eye
and produces the feeling of movement. The eye finds itself in a smaller
and smaller space, with a more and more definite impulse toward A.
It is a question whether the movement from BC toward A is rhythmical
or not. The movement is not connected with any marked regularity of
measures. I am inclined to think, however, that the gradual and even
change of measures produces the feeling of equal changes in equal
measures. If so, the movement is rhythmical.
When the movement of the eye in any convergence is a movement in
regular and marked measures, as in the example which follows, the
movement is rhythmical, without doubt.
[Illustration: Fig. 182]
The upward movement in this outline, being regulated by measures which
are marked and equal, the movement is certainly rhythmical, according
to our understanding and definition of Rhythm. Comparing Fig. 181 with
Fig. 182, the question arises, whether the movement in Fig. 182 is felt
to be any more rhythmical than the movement in Fig. 181. The measures
of the movement in Fig 181 are not marked, but I cannot persuade myself
that they are not felt in the evenness of the gradation. The movement
in Fig. 181 is easier than it is in Fig. 182, when the marking of the
measures interferes with the movement.
[Illustration: Fig. 183]
In this case we have another illustration like Fig. 182, only the
measures of the rhythm are differently marked. The force of the
convergence is greatest in Fig. 181. It is somewhat diminished by the
measure-marks in Fig. 182. It is still further diminished, in Fig. 183,
by the angles that break the measures.
[Illustration: Fig. 184]
In this case the movement is more rapid again, the measures being
measures of an arithmetical progression. There is a crowding together
of attractions in the direction of the convergence, and the movement
is easier than it is in Fig. 183, in spite of the fact that the lines
of convergence are more broken in Fig. 184. There is an arithmetical
diminution of horizontal as well as of vertical lines in Fig. 184.
[Illustration: Fig. 185]
In this case the measures of the rhythm are in the terms of a
geometrical progression. The crowding together of attractions is still
more rapid in this case and the distance to be traversed by the eye is
shorter. The convergence, however, is less compelling, the lines of the
convergence being so much broken—unnecessarily.
The movement will be very much retarded, if not prevented, by having
the movement of the crowding and the movement of the convergence
opposed.
[Illustration: Fig. 186]
There is no doubt that in this example, which is to be compared with
that of Fig. 184, the upward movement is almost prevented. There are
here two opposed movements: that of the convergence upward and that
of a crowding together of attractions downward. The convergence is
stronger, I think, though it must be remembered that it is probably
easier for the eye to move up than down, other things being equal.
111. The movements in all of these cases may be enhanced by
substituting for the straight lines shapes which are in themselves
shapes of movement.
[Illustration: Fig. 187]
Here, for example, the movement of Fig. 184 is facilitated and
increased by a change of shape in the lines, lines with movement being
substituted for lines which have no movement, beyond the movement of
the convergence.
[Illustration: Fig. 188]
In Fig. 188 all the shapes have a downward movement which contradicts
the upward movement of convergence. The movement down almost prevents
the movement up.
112. The movement of any convergence may be straight, angular, or
curved.
[Illustration: Fig. 189]
In this case the movement of the convergence is angular. It should
be observed that the movement is distributed in the measures of an
arithmetical progression, so that we have, not only movement, but
rhythm.
[Illustration: Fig. 190]
In this case the movement of convergence is in a curve. The stages of
the movement, not being marked, the movement is not rhythmical, unless
we feel that equal changes are taking place in equal measures. I am
inclined to think that we do feel that. The question, however, is one
which I would rather ask than answer, definitely.
[Illustration: Fig. 191]
In this case the movement is, unquestionably, rhythmical, because
the measures are clearly marked. The measures are in an arithmetical
progression. They diminish gradually in the direction of the
convergence, causing a gradual crowding together of attractions in that
direction.
Substituting, in the measures, shapes which have movement, the movement
of the rhythm may be considerably increased, as is shown in the example
which follows.
[Illustration: Fig. 192]
This is a case in which the movement is, no doubt, facilitated by an
association of ideas, the suggestion of a growth.
113. The more obvious the suggestion of growth, the more inevitable is
the movement in the direction of it, whatever that direction is. It
must be understood, however, that the movement in such cases is due to
an association of ideas, not to the pull of attractions in the sense of
vision. The pull of an association of ideas may or may not be in the
direction of the pull of attractions.
[Illustration: Fig. 193]
In Fig. 193 we have an illustration of a rhythmic movement upward. The
upward movement is due quite as much to an association of ideas, the
thought of a growth of vegetation, as it is to mere visual attractions.
It happens that the figure is also an illustration of Symmetrical
Balance. As we have Harmony in the similarity of the opposite sides,
the figure is an illustration of combined Harmony, Balance, and Rhythm.
There is another point which is illustrated in Fig. 193. It is this:
that we may have rhythmic movement in an outline, or, indeed, in any
composition of lines, which shows a gradual and regular change from
one shape to another; which shows a gradual and regular evolution or
development of shape-character; provided the changes are distributed
in regular and marked measures and the direction of the changes, the
evolution, the development, is unmistakable; as it is in Fig. 193. The
changes of shape in the above outline are changes which are gradual and
regular and suggest an upward movement unmistakably. The movement,
however, involves a comparison of shape with shape, so it is as much
a matter of perception as of sensation. Evolutions and developments
in Space, in the field of vision, are as interesting as evolutions
and developments in the duration of Time. When the changes in such
movements are regular, when they take place in regular and marked
measures, when we must take them in a certain order, the movements are
rhythmical, whether in Time or in Space.