such care taken to contrast, and vary all the limbs of a statue? The picture of Henry the eighth *, would be preferable to the finely contrasted figures of Guido or Correggio; and the Antinous's easy sway †, must submit to the stiff and straight figure of the dancing master; and the uniform outlines of the muscles in the figure § taken from Albert Durar's book of proportions, would have more taste in them than those In the famous part of an antique || figure from which Michael Angelo acquired so much of his skill in grace. In short, whatever appears to be fit, and proper to answer great purposes, ever satisfies the mind, and pleases on that account. Uniformity is of this kind. We find it necessary, in some degree, to give the idea of rest and motion, without the possibility of falling. But when any such purposes can be as well effected by more irregular parts, the eye is always better pleased on the account of variety. How pleasingly is the idea of firmness in standing conveyed to the eye by the three elegant claws of a table, the three feet of a tea-lamp, or the celebrated tripod of the ancients? Thus you see regularity, uniformity, or symmetry, please only as they serve to give the idea of fitness. * Fig. 72. p. 2. + Fig. 6. p. 1. + Fig. 7. p. 1. ||Fig. 54. § Fig. 55. p. 1. |