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.

There is a quality of sympathy set up by certain line relationships
about which it is important to say something. Ladies who have the
instinct for choosing a hat or doing their hair to suit their face
instinctively know something of this; know that certain things in their
face are emphasised by certain forms in their hats or hair, and the care
that has to be taken to see that the things thus drawn attention to are
their best and not their worst points.

The principle is more generally understood in relation to colour;
everybody knows how the blueness of blue eyes is emphasised by a
sympathetic blue dress or touch of blue on a hat, &c. But the same
principle applies to lines. The qualities of line in beautiful eyes and
eyebrows are emphasised by the long sympathetic curve of a picture hat,
and the becoming effect of a necklace is partly due to