IF any one should ask, what it is that constitutes a
fine-proportion'd human figure? how ready and
seemingly decisive is the common answer: a just sym-
metry and harmony of parts with respect to the whole.
But as probably this vague answer took its rise from
doctrines not belonging to form, or idle schemes built
on them, I apprehend it will cease to be thought much
to the purpose after a proper enquiry has been made.
Preparatory to which, it becomes necessary in this
place, to mention one reason more which may be added
to those given in the introduction, for my having per-
suaded the reader to consider objects scoop'd out like
thin shells ; which is, that partly by this conception, he
may be the better able to separate and keep asunder
the two following general ideas, as we will call them,
belonging to form ; which are apt to coincide and mix
with each other in the mind, and which it is necessary
(for the sake of making each more fully and particu-
larly clear) should be kept apart, and consider'd singly.
First, the general ideas of what hath already been dis-
cussed in the foregoing chapters, which only compre-
hends the surface of form, viewing it in no other light
than merely as being ornamental or not.

K 2 Secondly,

[68]

Secondly, that general idea, now to be discussed, which
we commonly have of form altogether, as arising chiefly
from a fitness to some design'd purpose or use.
Hitherto our main drift hath been to establish and
illustrate the first idea only, by shewing, first the nature
of variety, and then its effects on the mind ; with the
manner how such impressions are made by means of the
different feelings given to the eye, from its movements
in tracing and coursing over surfaces of all kinds
The surface of a piece of ornament, that hath every
turn in it that lines are capable of moving into, and at
the same time no way applied, nor of any manner of
use, but merely to entertain the eye, would be such an
object as would answer to this first idea alone.
The figure like a leaf, at the bottom of plate I, near
to fig. 67, is something of this kind ; it was taken from
an ash-tree, and was a sort of Lusus naturae, growing
only like an excressence, but so beautiful in the lines of
its shell-like windings, as would have been above the
power of a Gibbons to have equalled, even in its own
materials ; nor could the graver of an Edlinck, or Dre-
vet, have done it justice on copper.
Note, the present taste of ornaments seems to have
been partly taken from productions of this sort, which
are to be found about autumn among plants, particu-
larly asparagus, when it is running to seed.

-------------------------------------I See Chap. 5. page 25.

I

[69]

I shall now endeavour to explain what is included in
what I have called for distinction sake, the second gene-
ral idea of form, in a much fuller manner than was
done in chapter I. of Fitness. And begin with observing,
that though surfaces will unavoidably be still included,
yet we must no longer confine ourselves to the particu-
lar notice of them as surfaces only, as we heretofore
have done ; we must now open our view to general, as
well as particular bulk and solidity ; and also look into
what may have filled up, or given rise thereto, such as
certain given quantities and dimensions of parts, for in-
closing any substance, or for performing of motion, pur-
chase, stedfastness, and other matters of use to living
beings, which, I apprehend, at length, will bring us to
a tolerable conception of the word proportion.
As to these joint-sensations of bulk and motion, do
we not at first sight almost, even without making trial,
seem to feel when a leaver of any kind is too weak, or
not long enough to make such or such a purchase? or
when a spring is not sufficient? and don't we find by
experience what weight, or dimension should be given,
or taken away, on this or that account? if so, as the
general as well as the particular bulks of form, are made up
of materials moulded together under mechanical direc-
tions, for some known purpose or other ; how naturally,
from these considerations, shall we fall into a judgement
of fit proportion; which is one part of beauty to the
mind tho' not always so to the eye.

Our

[70]

Our necessities have taught us to mould the matter into
various shapes, and to give them fit proportions
for particular uses, as bottles, glasses, knives, dishes,
&c. Hath not offence given rise to the form of the
sword, and defence to that of the shield? And what
else but proper fitness of parts hath fix'd the differenct
dimensions of pistols, common guns, great guns, fowling-
pieces and blunderbusses ; which differences as to figure,
may as properly be called the different characters of fire-
arms, as the different shapes of men are called characters
of men.
We find also that the profuse variety of shapes, which
present themselves from the whole animal creation, arise
chiefly from the nice fitness of their parts, designed for
accomplishing the peculiar movements of each.
And here I think will be the proper place to speak
of a most curious difference between the living ma-
chines of nature, in respect of fitness, and such poor ones,
in comparison with them, as men are only capable of
making ; by means of which distinction, I am in hopes
of shewing what particularly constitutes the utmost
beauty of proportion in the human figure.
A clock, by the government's order, has been made,
and another now making, by Mr. Harrison, for the keep-
ing of true time at sea ; which perhaps is one of the most
exquisite movements ever made. Happy the ingenious
contriver! although the form of the whole, or of every
part of this curious machine, should be ever so confused,

or


[71]

or displeasingly shaped to the eye ; and although even
its movements should be disagreeable to look at, pro-
vided it answers the end proposed: an ornamental com-
position was no part of his scheme, otherwise than as a
pollish might be necessary; if ornaments are required to
be added to mend its shape, care must be taken that
they are no obstruction to the movement itself, and the
more as they would be superfluous, as to the main de-
sign.---But in nature's machines, how wonderfully do
we see beauty and use go hand in hand!
Had a machine for this purpose been nature's work,
the whole and every individual part would have had
exquisite beauty of form without danger of destroying
the exquisiteness of its motion, even as if ornament had
been the sole aim ; its movements too might have been
graceful, without one superfluous tittle added for either
of these lovely purposes.---Now this is that curious dif-
ference between the fitness of nature's machines (one of
which is man) and those made by mortal hands : which
distinction is to lead us to our main point proposed ; I
mean, to the shewing what constitutes the utmost beauty
of proportion.
There was brought from France some years ago, a
little clock-work machine, with a duck's head and legs
fixt to it, which was so contrived as to have some resem-
blance of that animal standing upon one foot, and
stretching back its leg, turning its head, opening and
shutting its bill, moving its wings, and shaking its tail;

all


[72]

all of them the plainest and easiest directions in living
movements: yet for the poorly performing of these few
motions, this silly, but much extoll'd machine, being un-
cover'd, appeared a most complicated, confused and dis-
agreeable object: nor would its being covered with a
skin closely adhering to its parts, as that of a real duck's
doth, have much mended its figure; at best, a bag of
hob-nails, broken hinges, and patten-rings, would have
looked as well, unless by other means it had been stuffed
out to bring it into form.
Thus again you see, the more variety we pretend to
give to our trifling movements, the more confused and
unornamental the forms become; nay chance but sel-
dom helps them.---How much the reverse are nature's!
the greater the variety her movements have, the more
beautiful are the parts that cause them.
The finny race of animals, as they have fewer motions
than other creatures, so are their forms less remark-
able for beauty. It is also to be noted of every species,
that the handsomest of each move best: birds of a
clumsy make seldom fly well, nor do lumpy fish glide
so well through the water as those of a neater make;
and beasts of the most elegant form, always excel in
speed; of this, the horse and greyhound are beautiful
examples: and even among themselves, the most ele-
gantly made seldom fail of being the swiftest.
The war-horse is more equally made for strength
than the race-horse, which surplus of power in the

former


[73]

former, if suppos'd added to the latter, as it would throw
more weight into improper parts for the business of mere
speed, so of course it would lessen, in some degree, that
admirable quality, and partly destroy that delicate fit-
ness of his make; but then a quality in movement, su-
perior to that of speed, would be given to him by the
addition, as he would be render'd thereby more fit to
move with ease in such varied, or graceful directions, as
are so delightful to the eye in the carriage of the fine
manag'd war-horse ; and as at the same time, something
stately and graceful would be added to his figure, which
before could only be said to have an elegant neatness.
This noble creature stands foremost amongst brutes ; and
it is but consistent with nature's propriety, that the most
useful animal in the brute-creation, should be thus signa-
lized also for the most beauty.
Yet, properly speaking, no living creatures are capable
of moving in such truly varied and graceful directions,
as the human species ; and it would be needless to say
how much superior in beauty their forms and textures
likewise are. And surely also after what has been said
relating to figure and motion, it is plain and evident
that nature has thought fit to make beauty of proportion,
and beauty of movement, necessary to each other : so
that the observation before made on animals, will hold
equally good with regard to man : i. e. that he who is
most exquisitely well-proportion'd is most capable of
exquisite movements, such as ease and grace in deport-
ment, or in dancing.

L It


[74]

It may be a sort of collateral confirmation of what
has been said of this method of nature's working, as
well as otherwise worth our notice, that when any parts
belonging to the human body are conceal'd, and not im-
mediately concern'd in movement, all such ornamental
shapes, as evidently appear in the muscles and bones I,
are totally neglected as unnecessary, for nature doth no-
thing in vain! this is plainly the case of the intestines,
none of them having the least beauty, as to form, ex-
cept the heart; which noble part, and indeed kind of
first mover, is a simple and well-varied figure ; con-
conformable to which, some of the most elegant Roman
urns and vases have been fashion'd.
Now, thus much being kept in remembrance, our
next step will be to speak of, first, general measure-
ments ; such as the whole height of the body to its
breadth, or the length of a limb to its thickness : and,
secondly, of such appearances of dimensions as are too
intricately varied to admit of a description by lines.
The former will be confined to a very few straight
lines, crossing each other, which will easily be under-
stood by every one; but the latter will require some-
what more attention, because it will extend to the pre-
cision of every modification, bound, or limit, of the
human figure.
To be somewhat more explicit. As to the first part,
I shall begin with shewing what practicable sort of mea-

I See chap. ix, on Compositions with the Serpentine -line

suring


[75]

suring may be used in order to produce the most proper
variety in the proportions of the parts of any body. I
say, practicable, because the vast variety of intricately
situated parts, belonging to the human form, will not
admit of measuring the distances of one part by another,
by lines or points, beyond a certain degree or number,
without great perplexity in the operation itself, or con-
fusion to the imagination. For instance, say, a line re-
presenting one breadth and a half of the wrist, would
be equal to the true breadth of the thickest part of the
arm above the elbow ; may it not then be ask'd, what
part of the wrist is meant? for if you place a pair of
calipers a little nearer or further from the hand, the
distance of the points will differ, and so they will if they
are moved close to the wrist all round, because it is
flatter one way than the other ; but suppose, for argu-
ment sake, one certain diameter should be fix'd upon ;
may it not again be ask'd, how is it to be apply'd, if
to the flattest side of the arm or the roundest, and how
far from the elbow, and must it be when the arm is ex-
tended or when it is bent? for this also will make a
sensible difference, because in the latter position, the
muscle, call'd the biceps, in the front of that part of
the arm, swells up like a ball one way, and narrows it-
self another; nay all the muscles shift their appearances
in different movements, so that whatever may have been
pretended by some authors, no exact mathematical
measurements by lines, can be given for the true propor-
tion of a human body.

L 2 It



[76]

It comes then to this, that no longer whilst we
suppose all the lengths and breadths of the body, or
limbs, to be as regular figures as cylinders, or as the leg,
figure 68 in plate I, which is as round as a rolling-stone,
are the measures of lengths to breadths practicable, or
of any use to the knowledge of proportion : so that as
all mathematical schemes are foreign to this purpose, we
will endeavour to root them quite out of our way :
therefore I must not omit taking notice, that Albert
Durer, Lamozzo, (see two tasteless figures taken from
their books proportion) and some others, have not
only puzzled mankind with a heap of minute unneces-
sary divisions, but also with a strange notion that those
divisions are govern'd by the laws of music; which mis-
take they seem to have been led into, by having seen
certain uniform and consonant divisions upon one string
produce harmony to the ear, and by persuading them-
selves, that similar distances in lines belonging to form,
would, in like manner, delight the eye. The very re-
verse of which has been shewn to be true, in chap. 3,
on Uniformity. "The length of the foot, say they, in
" respect to the breadth, makes a double suprabipartient,
" a diapason and a diatesseron I:" which, in my opinion,
would have been full as applicable to the ear, or to a

plant

I Note, these authors assure you, that this curious method of mea-
suring, will produce beauty far beyond any nature doth afford. Lamozzo,
recommends also another scheme, with a triangle, to correct the poverty
of nature, as they express themselves. These nature-menders put one in
mind

[77]

plant, or to a tree, or any other form whatsoever ; yet
these sort of notions have so far prevail'd by time, that
the words, harmony of parts, seem as applicable to form,
as to music.
Notwithstanding the absurdity of the above schemes,
such measures as are to be taken from antique statues,
may be of some service to painters and sculptors, espe-
cially to young beginners, but nothing nigh of such
use to them, as the measures, taken the same way, from
ancient buildings, have been, and are, to architects and
builders ; because the latter have to do with little else
but plain geometrical figures: which measures, however,
serve only in copying what has been done before.
The few measures I shall speak of, for the setting
out the general dimensions of a figure, shall be taken
by straight lines only, for the more easy conception of
what may indeed be properly call'd, gaging the contents
of the body, supposing it solid like a marble statue, as
the wires were described to do † in the introduction:
by which plain method, clear ideas may be acquir'd of
what alone seem to me to require measuring, of what
certain lengths to what breadths make the most eligible
proportions in general.
The most general dimensions, of a body, or limbs,
are lengths, breadths or thicknesses : now the whole

gentility

† Fig. 2.
P. I.

mind of Gulliver's tailor at Laputa, who, having taken measure of
him for a suit of clothes, with a rule, quadrant and compasses, after a
considerable time spent, brought them home ill made.

[78]

gentility of a figure, according to its character, depends
upon the first proportioning these lines or wires (which
are its measures) properly one to another; and the more
varied these lines are, with respect to each other, the
more may the future divisions be varied likewise, that
are to be made on them; and of course the less varied
these lines are, the parts influenced by them, as they
must conform themselves to them, must have less variety
too. For example, the exact cross* of two equal lines,
cutting each other in the middle, would confine the
figure of a man, drawn conformable to them, to the
disagreeable character of his being as broad as he is long.
And the two lines crossing each other, to make the
height and breadth of a figure, will want variety a con-
rary way, by one line being very short in proportion to
the other, and therefore, also incapable of producing a
figure of tolerable variety. To prove this, it will be very
easy for the reader to make the experiment, by draw-
ing a figure or two (tho' ever so imperfectly) confin'd
within such limits.
There is a medium between these, proper for every
character, which the eye will easily and accurately de-
termine.
Thus, if the lines, fig.†, were to be the measure of
the extreme length and breadth, set out either for the
figure of a man or a vase, the eye soon sees the longest
of these is not quite sufficiently so, in proportion to the
other, for a genteel man ; and yet it would make a vase

too

* Fig. 69. R. p. 2.

† Fig. 70. R. p. 2.

[79]

too taper to be elegant; no rule or compasses would
decide this matter either so quickly or so precisely as a
good eye. It may be observed, that minute differences
in great lengths, are of little or no consequence as to
proportion, because they are not to be discerned ; for a
man is half an inch shorter when he goes to bed at
night, than when he rises in the morning, without the
possibility of its being perceived. In case of a wager
the application of a rule or compasses may be necessary,
but seldom on any other occasion.
Thus much I apprehend is sufficient for the consi-
deration of general lengths to breadths. Where, by the
way, I apprehend I have plainly shewn, that there is
no practicable rule, by lines, for minutely setting out
proportions for the human body, and if there were, the
eye alone must determine us in our choice of what is
most pleasing to itself.
Thus having dispatch'd general dimension, which we
may say is almost as much of proportion, as is to be
seen when we have our cloaths on: I shall in the second,
and more extensive method proposed for considering it,
set out in the familiar path of common observation,
and appeal as I go on to our usual feeling, or joint-
sensation, of figure and motion.
Perhaps by mentioning two or three known instances it
will be found that almost every one is farther advanced in
the knowledge of this speculative part of proportion than
he imagines ; especially he who hath been used to observe

naked


[80]

naked figures doing bodily exercise, and more especially
if he be any way interested in the success of them; and
the better he is acquainted with the nature of the exer-
cise itself, still the better judge he becomes of the figure
that is to perform it. For this reason, no sooner are two
boxers stript to fight, but even a butcher, thus skill'd,
shews himself a considerable critic in proportion; and
on this sort of judgement, often gives, or takes the odds,
at bare sight only of the combatants. I have heard a
blacksmith harangue like an anatomist, or sculptor, on the
beauty of a boxer's figure, tho' not perhaps in the same
terms; and I firmly believe, that one of our common
proficients in the athletic art, would be able to instruct
and direct the best sculptor living, (who hath not seen,
or is wholly ignorant of this exercise) in what would
give the statue of an English-boxer, a much better pro-
portion, as to character, than is to be seen, even in the
famous group of antique boxers, (or some call them,
Roman wrestlers) so much admired to this day.
Indeed, as many parts of the body are so constantly
kept cover'd, the proportion of the whole cannot be
equally known ; but as stockings are so close and thin a
covering, every one judges of the different shapes and
proportions of legs with great accuracy. The ladies
always speak skilfully of necks, hands and arms; and
often will point out such particular beauties or defects
in their make, as might easily escape the observation of
a man of science.

Surely


[81]

Surely, such determinations could not be made and
pronounced with such critical truth, if the eye were not
capable of measuring or judging of thicknesses by
lengths, with great preciseness. Nay more, in order to
determine so nicely as they often do, it must also at
the same time, trace with some skill those delicate
windings upon the surface which have been described
in page 64 and 65, which altogether may be observ'd
to include the two general ideas mention'd at the be-
ginning of this chapter.
If so, certainly it is in the power of a man of science,
with as observing an eye, to go still further, and con-
ceive, with a very little turn of thought, many other
necessary circumstances concerning proportion, as of
what size and in what manner the bones help to make
up the bulk, and support the other parts; as well as
what certain weights or dimensions of muscles are pro-
per (according to the principle of the steelyard) to move
such or such a length of arm with this or that degree
of swiftness or force.
But though much of this matter, may be easily un-
derstood by common observation, assisted by science,
still I fear it will be difficult to raise a very clear idea
of what constitutes, or composes the utmost beauty of
proportion ; such as is seen in the Antinous ; which is
allowed to be the most perfect in this respect, of any of
the antique statues ; and tho' the lovely likewise seems
to have been as much the sculptor's aim, as in the Venus;

M yet


[82]

yet a manly strength in its proportion is equally ex-
press'd from head to foot in it.
Let us try, however, and as this master-piece of art
is so well known, we will set it up before us as a pat-
tern, and endeavour to fabricate, or put together in the
mind, such kind of parts as shall seem to build another
figure like it. In doing which, we shall soon find that
it is chiefly to be effected by means of the nice sensation
we naturally have of what certain quantities or dimen-
sions of parts, are fittest to produce the utmost strength
for moving, or supporting great weights ; and of what
are most fit for the utmost light agility, as also for every
degree, between these two extremes.
He who hath best perfected his ideas of these matters
by common observations, and by the assistance of arts
relative thereto, will probably be most precisely just and
clear, in conceiving the application of the various parts
and dimensions, that will occur to him, in the follow-
ing descriptive manner of disposing of them, in order
to form the idea of a fine-proportion'd figure.
Having set up the Antinous as our pattern, we will
suppose there were placed on one side of it, the un-
weildy elephant-like figure of an Atlas, made up of
such thick bones and muscles, as would best fit him for
supporting a vast weight, according to his character of

ex-

I If the scale of either of these proportions were to exceed six foot in
the life, the quality of strength in one, and agility in the other, would
gradually decrease, the larger the person grew. There are sufficient proofs
of this, both from mechanical reasonings and common observation.

[83]

extreme heavy strength. And, on the other side, imagine
the slim figure of a Mercury, every where neatly formed
for the utmost light agility, with slender bones and taper
muscles fit for his nimble bounding from the ground.
---Both these figures must be supposed of equal height,
and not exceeding six foot I.
Our extremes thus placed, now imagine the Atlas
throwing off by degrees, certain portions of bone and
muscle, proper for the attainment of light agility, as if
aiming at the Mercury's airy form and quality, whilst
on the other hand, see the Mercury augmenting his ta-
per figure by equal degrees, and growing towards an
Atlas in equal time, by receiving to the like places from
whence they came, the very quantities that the other
had been casting off, when, as they approach each other
in weight, their forms of course may be imagined to
grow more and more alike, till at a certain point of
time, they meet in just similitude ; which being an ex-
act medium between the two extremes, we may thence
conclude it to be the precise form of exact proportion,
fittest for perfect active strength or graceful movement;
such as the Antinous we proposed to imitate and figure
in the mind 2.
I am apprehensive that this part of my scheme, for
explaining exact proportion, may not be thought so

suffi-

2 The jocky who knows to an ounce what flesh or bone in a horse is
fittest for speed or strength, will as easily conceive the like process be-
tween the strongest dray-horse and the fleetest racer, and soon conclude,
that the fine war-horse must be the medium between the two extremes.

[84]

sufficiently determinate as could be wished: be this as
it will, I must submit it to the reader, as my best re-
source in so difficult a case : and shall therefore beg
leave to try to illustrate it a little more, by observing,
that, in like manner, any two opposite colours in the
rainbow, form a third between them, by thus imparting
to each other their peculiar qualities ; as the brightest
yellow, and the lively blue that is placed at some dis-
tance from it, visibly approach, and blend by inter-
changable degrees, and, as above, temper rather than
destroy each other's vigour, till they meet in one firm
compound ; whence, at a certain point, the sight of
what they were originally, is quite lost; but in their
stead, a most pleasing green is found, which colour
nature hath chose for the vestment of the earth, and
with the beauty of which the eye is never tired.
From the order of the ideas which the description
of the above three figures may have raised in the mind,
we may easily compose between them, various other
proportions. And as the painter, by means of a certain
order in the arrangement of the colours upon his pallet,
readily mixes up what kind of tint he pleases, so may
we mix up and compound in the imagination such fit
parts as will be consistent with this or that particular
character, or at least be able thereby to discover how
such characters are composed when we see them either
in art or nature.

But


[85]

But perhaps even the word character, as it relates to
form, may not be quite understood by every one, tho'
it is so frequently used; not do I remember to have seen
it explained any where. Therefore on this account---
and also as it will farther shew the use of thinking of
form and motion together, it will not be improper to
observe,--that notwithstanding a character, in this sense,
chiefly depends on a figure being remarkable as to its
form, either in some particular part, or altogether; yet
surely no figure, be it ever so singular, can be perfectly
conceived as a character, till we find it connected with
some remarkable circumstance or cause, for such par-
ticularity of appearance; for instance, a fat bloted per-
son doth not call to mind the character of a Silenus,
till we have joined the idea of voluptuousness with it;
so likewise strength to support, and clumsiness of figure,
are united, as well in the character of an Atlas as in a
porter.
When we consider the great weight chairmen often
have to carry, do we not readily consent that there is a
propriety and fitness in the tuscan order of their legs,
by which they properly become characters as to figure?
Watermen too, are of a distinct cast, or character,
whose legs are no less remarkable for their smallness:
for as there is naturally the greatest call for nutriment
to the parts that are most exercised, so of course these
that lye so much stretched out, are apt to dwindle, or
not grow to their full size. There is scarcely a water-

man


[86]

man that rows upon the Thames, whose figure doth
not confirm this observation. Therefore were I to paint
the character of a Charon, I would thus distinguish his
make from that of a common man's; and, in spite of
the word low, venture to give him a broad pair of shoul-
ders, and spindle shanks, whether I had the authority
of an antique statue, or basso-relievo, for it or not.
May be, I cannot throw a stronger light on what has
been hitherto said of proportion, than by animadverting
on a remarkable beauty in the Apollo-belvedere; which
hath given it the preference even to the Antinous : I
mean a super-addition of greatness, to at least as much
beauty and grace, as is found in the latter.
These two master-pieces of art, are seen together in
the same apartment at Rome, where the Antinous fills
the spectator with admiration only, whilst the Apollo
strikes him with surprise, and, as travellers express them-
selves, with an appearance of something more than hu-
man; which they of course are always at a loss to de-
scribe; and, this effect, they say, is the more astonish-
ing, as upon examination its disproportion is evident
even to a common eye. One of the best sculptors we
have in England, who lately went to see them, confirm'd
to me what has been now said, particularly as to the
legs and thighs being too long, and too large for the
upper parts. And Andrea Sacchi, one of the great Italian
painters, seems to have been of the same opinion, or he
would hardly have given his Apollo, crowning Pasqualini

the


[87]

the musician, the exact proportion of the Antinous, (in
a famous picture of his now in England) as otherwise
it seems to be a direct copy from the Apollo.
Although in very great works we often see an inferior
part neglected, yet here it cannot be the case, because
in a fine statue, just proportion is one of its essential
beauties: therefore it stands to reason, that these limbs
must have been lengthened on purpose, otherwise it
might easily have been avoided.
So that if we examine the beauties of this figure
thoroughly, we may reasonably conclude, that what
has been hitherto thought so unaccountably excellent in
its general appearance, hath been owing to what hath
seem'd a blemish in a part of it: but let us endeavour
to make this matter as clear as possible, as it may add
more force to what has been said.
Statues by being bigger than life (as this is one, and
larger than the Antinous) always gain some nobleness in
effect, according to the principle of quantity I but this
alone is not sufficient to give what is properly to be
called, greatness in proportion; for were figures 17 and
18, in plate I, to be drawn or carved by a scale of ten
feet high, they would still be but pigmy proportions,
as, on the other hand, a figure of but two inches, may
represent a gigantic height.
Therefore greatness of proportion must be considered,
as depending on the application of quantity to those
parts of the body where it can give more scope to its

grace

I See chap. 6.

[88]

grace in movement, as to the neck for the larger and
swan-like turns of the head, and to the legs and thighs,
for the more ample sway of all the upper parts to-
gether.
By which we find that the Antinous's being equally
magnified to the Apollo's height, would not sufficiently
produce that superiority of effect, as to greatness, so
evidently seen in the latter. The additions necessary to
the production of this greatness in proportion, as it there
appears added to grace, must then be, by the proper
application of them, to the parts mention'd only.
I know not how further to prove this matter than
by appealing to the reader's eye, and common observa-
tion, as before.
The Antinous being allowed to have the justest pro-
portion possible, let us see what addition, upon the prin-
ciple of quantity, can be made to it, without taking
away any of its beauty.
If we imagine an addition of dimensions to the head,
we shall immediately conceive it would only deform---
if to the hands or feet, we are sensible of something gross
and ungenteel,----if to the whole lengths of the arms,
we feel they would be dangling and aukward----if by
an addition of length or breadth to the body, we know
it would appear heavy and clumsy---there remains then
only the neck, with the legs and thighs to speak of; but,
to these we find, that not only certain additions may
be admitted without causing any disagreeable effect,

but

[89]

but that thereby greatness, the last perfection as to pro-
portion, is given to the human form ; as is evidently
express'd in the Apollo : and may still be further con-
firmed by examining the drawings of Parmigiano, where
these particulars are seen in excess; yet on this account
his works are said, by all true connoisseurs, to have an
inexpressible greatness of taste in them, though other-
wise very incorrect.
Let us now return to the two general ideas we sat
out with at the beginning of this chapter, and recollect
that under the first, on surface, I have shewn in what
manner, and how far human proportion is measureable,
by varying the contents of the body, conformable to the
given proportions of two lines. And that under the se-
cond and more extensive general idea of form, as arising
from fitness for movement, &c. I have endeavour'd to
explain, by every means I could devise, that every par-
ticular and minute dimension of the body, should con-
form to such purposes of movement, &c. as have been
first properly considered and determined: on which con-
junctively, the true proportion of every character must
depend; and is found so to do, by our joint-sensation of
bulk and motion. Which account of the proportion of
the human body, however imperfect, may possibly stand
its ground, till one more plausible shall be given.
As the Apollo * has been only mention'd on account
of the greatness of its proportion, I think in justice to
so fine a performance ; and also as it is not foreign to

N the

* Fig. 12.
P. I.

[90]

the point we have been upon, we may subjoin an Ob-
servation or two on its perfections.
Besides, what is commonly allow'd, if we consider it
by the rules here given for constituting or composing
character, it will discover the author's great sagacity, in
choosing a proportion for this deity, which has served
two noble purposes at once; in that these very dimen-
sions which appear to have given it so much dignity,
are the same that are best fitted to produce the utmost
speed. And what could characterise the god of day,
either so strongly or elegantly, to be expressive in a sta-
tue, as superior swiftness, and beauty dignify'd? and how
poetically doth the action it is put into, carry on the
allusion to speed, I as he is lightly stepping forward,
and seeming to shoot his arrows from him; if the ar-
rows may be allowed to signify the sun's rays? This at
least may as well be supposed as the common surmise,
that he is killing the dragon, Python; which certainly
is very inconsistent with so erect an attitude, and benign
as aspect 2.
Nor are the inferior parts neglected : the drapery also
that depends from his shoulders, and folds over his ex-
tended arm, hath its treble office. As first, it assists in
keeping the general appearance within the boundary of
a pyramid, which being inverted, is, for a single figure,

rather

1 ------ the sun : which cometh forth as a bridegroom out of his
chamber, and rejoiceth as a giant to run his course. Psalm XIX. 5.
2. The accounts given, in relation to this statue, make it so highly
probable that it was the great Apollo of Delphos, that, for my own part,
I make no manner of doubt of it being so.

[91]

rather more natural and genteel than one upon its basis.
Secondly, it fills up the vacant angle under the arm, and
takes off the straighteness of the lines the arm necessarily
makes with the body in such an action ; and, lastly,
spreading as it doth, in pleasing folds, it helps to satisfy
the eye with a noble quantity in the composition alto-
gether, without depriving the beholder of any part of
the beauties of the naked: in short, this figure might
serve, were a lecture to be read over it, to exemplify
every principle that hath been hitherto advanced. We
shall therefore close not only all we hve to say on pro-
portion with it, but our whole linea account of form,
except what we have particularly to offer as to the face;
which it will be proper to defer, till we have spoke of
light and shade and colour
As some of the ancient statues have been of such sin-
gular use to me, I shall beg leave to conclude this chap-
ter with an observation or two on them in general.
It is allowed by the most skilful in the imitative arts,
that tho' there are many of the remains of antiquity,
that have great excellencies about them; yet there
are not, moderately speaking, above twenty that may
be justly called capital. There is one reason, never-
theless, besides the blind veneration that generally is
paid to antiquity, for holding even many very imperfect
pieces in some degree of estimation: I mean that pecu-
liar taste of elegance wich so visibly runs through them
all, down to the most incorrect of their basso-relievos:

N 2 which

[92]

which taste, I am persuaded, my reader will now con-
ceive to have been entirely owing to the perfect know-
ledge the ancients must have had of the use of the pre-
cise serpentine-line.
But this cause of elegance not having been since suf-
ficiently understood, no wonder such effects should have
appear'd mysterious, and have drawn mankind into a
sort of religious esteem, and even bigotry, to the works
of antiquity.
Nor have there been wanting of artful people, who
have made good profit of those whose unbounded ad-
miration hath run them into enthusiasm. Nay there are,
I believe, some who still carry on a comfortable trade
in such originals as have been so defaced and maimed
by time, that it would be impossible, without a pair of
double-ground connoisseur-spectacles, to see whether
they have ever been good or bad: they deal also in
cook'd-up copies, which they are very apt to put off for
originals. And whoever dares be bold enough to detect
such impositions, finds himself immediately branded,
and given out as one of low ideas, ignorant of the true
sublime, self-conceited, envious, &c.
But as there are a great part of mankind that delight
most in what they least understand ; for ought I know,
the emolument may be equal between the bubler and
the bubled : at least this seems to have been Butler's
opinion :
Doubtless the pleasure is as great
In being cheated, as to cheat.

C H A P.