ed gives them a unity that brings them into harmonious
relationship.

There is also another point about radiating lines, and that is their
power of setting up a relationship between lines otherwise unrelated.
Let us try and explain this. In Panel A, page 174 [Transcribers Note:
Diagram XVIII], are drawn some lines at random, with the idea of their
being as little related to each other as possible. In B, by the
introduction of radiating lines in sympathy with them, they have been
brought into some sort of relationship. The line 1-2 has been selected
as the dominating line, and an assortment of radiating ones drawn about
it. Now, by drawing 7-8, we have set up a relationship between lines
3-4, 5-6, and 1-2, for this line radiates with all of them. Line 9-10
accentuates this relationship with 1-2. The others echo the same thing.
It is this echoing of lines through a composition that unites the
different parts and gives unity to the whole.

The crossing of lines at angles approaching the right angle is always
harsh and somewhat discordant, useful when you want to draw attention
dramatically to a particular spot, but to be avoided or covered up at
other times. There is an ugly clash of crossing lines in our original
scribble, and at C we have introduced a mass to cover this up, and also
the angles made by line 3-4 as it crosses the radiating lines above 1-2.
With a small mass at 11 to make the balance right, you have a basis for
a composition, Diagram C, not at all unpleasing in arrangement, although
based on a group of discordant lines drawn at random, but brought into
harmony by means of sympathetic radiation.

[Illustration: Plate XL.

THE ASCENSION OF CHRIST. BY DOMINICO THEOTOCOPULI CALLED EL GRECO.

Note the flame-like form and flow of the light masses, and the exalted
feeling this conveys.

_Photo Anderson_]

[Illustration: Plate XLI.

THE BAPTISM OF CHRIST. BY DOMINICO THEOTOCOPULI CALLED EL GRECO

Another example of his restless, flame-like composition.

_Photo Anderson_]

In Panel D the same group is taken, but this time line 3-4 is used as
the dominant one. Line 7-8 introduces 3-4 to 1-2, as it is related to
both. Lines 9-10 and 11-12 introduce 3-4 to 5-6, as they are related to
both, and the others follow on the same principle. By introducing some
masses covering up the crossings, a rhythmic basis for a composition
(Diagram E) entirely different from C is obtained, based on the same
random group.