[Illustration:  Diagram XVIII.

SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONY BY THE
INTRODUCTION OF OTHERS IN SYMPATHY WITH THEM.

A. LINES DRAWN AT RANDOM.

B. TAKING LINE 1-2 AS DOMINANT LINE.

C. AS AT B BUT WITH ADDITION OF MASSES TO COVER LINES CROSSING AND
RESTORE BALANCE

D. TAKING LINE 3-4 AS DOMINANT LINE

E. AS AT D BUT WITH ADDITION OF MASSES TO COVER LINES CROSSING AND GIVE
BALANCE

F. TAKING LINE 5-6 AS DOMINANT LINE

G. AS AT F BUT WITH MASSES TO COVER LINES CROSSING & TO GIVE BALANCE]

[Illustration:  Diagram XIX.

SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONY BY THE
INTRODUCTION OF OTHERS IN SYMPATHY WITH THEM.

H. LINES DRAWN AT RANDOM.

I. LINES DRAWN AT RANDOM.

J. ADDITIONAL LINES DRAWN TO RELATE ORIGINAL LINES AND BRING THE WHOLE
INTO HARMONY TAKING LINE 1-2, AS DOMINANT.

K. ADDITIONAL LINES DRAWN TO RELATE ORIGINAL LINES TAKING 1-2 AS
DOMINANT.

L. THE SAME AS J WITH ADDITION OF MASSES TO COVER CROSSING OF LINES.

M. THE SAME AS AT K WITH ADDITION OF MASSES TO COVER CROSSING LINES.]

In H, I have introduced a straight line into our initial scribble, and this somewhat increases the difficulties of relating them.  But by drawing 7-8 and 9-10 radiating from 1-2, we have introduced this straight line to 5-6.  For although 5-6 and 9-10 do not radiate from the same point, they are obviously in sympathy.  It is only a short part of the line at the end marked 5 that is out of sympathy, and had 5-6 taken the course of the dotted line, it would have radiated from the same point as 9-10.  We still have line 3-4 to account for.  But by drawing 11-12 we bring it into relationship with 5-6, and so by stages through 9-10 and 7-8 to the original straight line 1-2.  Line 13-14, by being related to 3-4, 11-12, and also 5-6, still further harmonises the group, and the remainder echo 5-6 and increase the dominant swing.  At L masses have been introduced, covering crossing lines, and we have a basis for a composition.

In Diagram I lines have been drawn as before, at random, but two of them are straight and at right angles, the longer being across the-centre of the panel.  The first thing to do is to trick the eye out of knowing that this line is in the centre by drawing others parallel to it, leading the eye downwards to line 9-10, which is now much more important than 1-2 and in better proportion with the height of the panel.  The vertical line 3-4 is rather stark and lonely, and so we’ introduce two more verticals at 11-12 and 13-14, which modify this, and with another two lines in sympathy with 5-6 and leading the eye back to the horizontal top of the panel, some sort of unity is set up, the introduction of some masses completing the scheme at M.