If we start from anharmonic ratio as ordinarily defined, we are met by the difficulty of its quantitative nature[122]. But among the properties deduced from this definition, many, if not most, are purely qualitative. The most fundamental of these is that, if through any four points in a straight line we draw four straight lines which meet in a point, and if we then draw a new straight line meeting these four, the four new points of intersection have the same anharmonic ratio as the four points we started with. Thus, in the figure, _abcd_, _a′b′c′d′_, _a″b″c″d″_, all have the same anharmonic ratio. The reciprocal relation holds for the anharmonic ratio of four straight lines. Here we have, plainly, the required basis for a qualitative definition. The definition must be as follows: Two sets of four points each are defined as having the same anharmonic ratio, when (1) each set of four lies in one straight line, and (2) corresponding points of different sets lie two by two on four straight lines through a single point, or when both sets have this relation to any third set[123]. And reciprocally: Two sets of four straight lines are defined as having the same anharmonic ratio when (1) each set of four passes through a single point, and (2) corresponding lines of different sets pass, two by two, through four points in one straight line, or when both sets have this relation to any third set. Two sets of points or of lines, which have the same anharmonic ratio, are treated by projective Geometry as equivalent: this qualitative equivalence replaces the quantitative equality of metrical Geometry, and is obviously included, by its definition, in the above account of projective transformations in general.