POWER AND FORCE OF LINES
help us to realize this. By his mastery the rigid, almost uncompromising lines of the geometric oblong into which he has composed his picture have been made to carry the tender vision of a girl of dreams. Figure 72 gives the line whose strength can cope best with the geometric frame. This line also serves the law of beauty because of the agreeable irregularity produced by its placing.
Beauty in lines, secured by the irregular placing on the picture plane, attains a passive quality appeal ing to and satisfying our feeling. To this is often added a certain mental action, something that engages our reasoning powers as well. We must make the irregular arrangement of lines a means of expressing our ideas and also the degree of our feeling. This new element, so intimately interlaced with "beauty in lines," is what we designate as "power and force of line," culminating in "movement."
As in a monarchy there is always a leader in the person of a king or emperor, in a republic a president, in the army a chief officer, as wherever organization exists there is a head or directing element, - so in a picture where of necessity many lines are used there is a main or leading line, followed by a secondary, then a third, and so on. There never can be two lead ing lines; the duplication of the first would be a nega tion, each has its place according to its use. The