CHARACTER AND NATURE OF LINES
that surface. The former assists the latter. In the accompanying sketch, Fig. 89, 1 is the longest straight line on the picture surface, it therefore is the fastest and has the greatest force; 2 is slower, therefore well calculated to be an assistant to 1; 3 is slower than 2, because of its curved character. By-its slowness and its position it is a check to the up ward force of 1. Its expression is kind, yielding, bind ing the first lines with the frame. 4, the constantly interrupted line of the face, is slowest, and therefore well calculated as a resting-point for our eyes.
Our study of the nature of lines has increased our respect for their value. We can now consider combina tions that produce "quality." For instance, it would be interesting to know what constitutes a graceful line, what is the "line of beauty."
"Grace" is a partly impetuous movement terminat ing with that which is affectionate, caressing. In the following cut we find the long line impetuous. Associ-
ating it with the section of a circle, a combination results
that produces the desired quality.