CHARACTER AND NATURE OF LINES
E. A. Abbey employed several of these long horizontal frame-shapes in his rendering of the story of Sir Gala had, in the Boston Library.
Of the circle it may be said as of the square, that it is not capable of expansion. It is well adapted to concentrate interest on whatever is placed within its limit.
Where the oblong is crowned by a portion of the circle, we find a gentleness together with loftiness, that at once suggests a religious picture.
The three panels grouped on the opposite page form a combination in which we have a perfect con dition for the embodiment of religious thought.
The shape below them suggests more worldliness, more substance. The fast and the slow are so combined that we think of something cheerful and complacent in the space.
If lines have meaning when quite isolated, do we
not now see that their combination in a frame conveys