Chapter III, on Uniformity. "The length of the foot," say they, "in

respect to the breadth, makes a _double suprabipartient_, a _diapason_, and a _diatesseron_[7]:" which, in my opinion, would have been full as applicable to the ear, or to a 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.

[7] Note, these authors assure you, that this curious method of measuring, _will produce beauty far beyond any nature doth afford_. Lomazzo, recommends also another scheme, with a triangle, to correct the _poverty of nature_, as they express themselves. These _nature-menders_ put one in 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.

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, especially 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 [Fig. 2 p. I] 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 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 [Fig. 69 R p. II] 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 contrary 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 drawing 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 determine.

Thus, if the lines, fig. [70 R p. II], 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 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 consideration 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 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 exercise 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 judgment, 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 proportion, as to character, than is to be seen, even in the famous group of antique boxers, (or as 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, 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 beginning 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 conceive, 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 proper (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 understood 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; yet a manly strength in its proportion is equally express'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 pattern, 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 dimensions 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 following 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 unwieldy 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 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[8].

[8] 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.

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 taper 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 exact 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[9].

[9] 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 between the strongest dray-horse and the fleetest racer, and soon conclude, that the fine war-horse must be the medium between the two extremes.

I am apprehensive that this part of my scheme, for explaining exact proportion, may not be thought so sufficiently determinate as could be wished: be this as it will, I must submit it to the reader, as my best resource 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 for example, the brightest yellow, and the lively blue that is placed at some distance from it, visibly approach, and blend by interchangable 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 perhaps even the word _character, as it relates to form,_ may not be quite understood by every one, tho' it is so frequently used: nor do I remember to have seen it explained any where. Therefore on this account--and also as it will further 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 particularity of appearance; for instance, a fat bloted person 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 waterman 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 shoulders, 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 palace at Rome, where the Antinous fills the spectator with admiration only, whilst the Apollo strikes him with surprise, and, as travellers express themselves, with an appearance of something _more than human_; which they _of course_ are always at a loss to describe: and this effect, they say, is the more astonishing, 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 Pasquilini 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[10] 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.

[10] See Chapter VI.

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 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 together.

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 observation, as before.

The Antinous being allowed to have the justest proportion possible, let us see what addition, upon the principle 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 that thereby _greatness_, the last perfection as to proportion, is given to the human form; as is evidently express'd in the Apollo: and may still be further confirmed 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 otherwise very incorrect.

Let us now return to the two general ideas we set 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 proportion of two lines. And that under the second 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 particular and minute dimension of the body, should conform to such purposes of movement, &c. as have been first properly considered and determined: on which conjunctively, 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 [Fig. 12 p. I] 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 the point we have been upon, we may subjoin an Observation 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 dimensions 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 statue, as superior swiftness, and beauty dignify'd? and how poetically doth the action it is put into, carry on the allusion to speed,[11] as he is lightly stepping forward, and seeming to shoot his arrows from him; if the arrows 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 an aspect[12].

[11]----the sun: which cometh forth as a bridegroom out of his chamber, and rejoiceth as a giant to run his course. Psalm xix. 5.

[12] 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 its being so.

Nor are the inferior parts neglected: the drapery also that depends from his shoulders, and folds over his extended 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 more natural and genteel than one upon its basis. Secondly, it fills up the vacant angle under the arm, and takes off the straightness 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 altogether, 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 have to say on proportion with it, but our whole lineal account of form, except what we have particularly to offer as to the face; which it will be proper to defer, till we have spoken of _light_ and _shade_ and _colour_.

As some of the ancient statues have been of such singular use to me, I shall beg leave to conclude this chapter 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, nevertheless, 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 _peculiar taste of elegance_ which so visibly runs through them all, down to the most incorrect of their basso-relievos: which _taste_, I am persuaded, my reader will now conceive to have been entirely owing to the perfect knowledge the ancients must have had of the use of the precise serpentine-line.

But this cause of _elegance_ not having been since sufficiently 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 admiration 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.