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EXPRESSION OF THE FIGURE.
Of the Figure. -Variety is admissible only so far as it will serve to illustrate unity ; this forms the basis of constructive proportion. Where this variety is displayed in the harmonious relation of quantities, as in curvature, it constitutes apparent proportion which is the basis of Beauty.
No two lines in the human figure should be parallel to each other; a similar arrangement of different limbs is destructive of beauty.
Not however an equal quantity of opposite limbs, for this will produce not unity but uniformity, which is also destructive of Beauty. (Plate 10, &g. 2.)
Right angles are to be avoided in the limbs. The shoulders should not be exactly of the same height ; nor the head perfectly straight. And this variety in the upper part of the figure will produce a corresponding variety in the lower part; as for in- stance in Plate 10, &g. 3, the right shoulder being on one side of the central line, causes the hip of the other side to project in order to preserve equality of balance ; and this line is increased by the lifting of the arm.
The limbs of old age however are characterized by greater angularity and uniformity.
That side of the figure will be most contracted which is over the leg that sustains it. (Plate 8.)
When the figure rests on one foot, the ankle of that foot will be generally under the pit of the neck. (Plates 8 & 10, figs. 1 & 3.)
Motion is obtained by removing the centre of gravity from off the base of support.
The limbs of a male figure may partake of whatever action will best express the feelings of his mind; but as woman is more attractive in modest retirement, the action of the female figure should be very modified, extreme gesture seldom used, the arms in an easy and graceful position, and the feet never far asunder. Man rules by power, woman by influence; and being the weaker, her dignity depends not on the display of muscular power but on her exemption from its necessity. Her glory is not to display but to subdue her feelings. Her figure will therefore never be violently affected by the presence of external objects, and with the exception of a simple motion, expression will be confined to the features.
Although it is not intended to appropriate a separate chapter to the subject of Composition, a few remarks may be here made on the subject.
The power of composition depends on the association of objects in such a way that their combination shall display unity of purpose and subserviency in their relative position and proportions.
As this end is not acquired by mere mechanical knowledge, but depends in a great measure on the constructive sense of the intellect,* it is difficult to lay down rules which shall be universally applicable ; because such rules will be derived rather from the effect of individual works than from the appearances
* The necessary exercise of this power in the painter will account for a fact so often remarked, that if men are needed, characterized by ingenuity and the ability to turn their hands to anything, they will be found among artists. M. Angelo was a sculptor, architect and poet. -Rubens was sent on an embassy to Madrid, and subsequently conducted negotiations for the Infanta Isabella and the King of Spain. -Albert Durer was sculptor and architect. -Domenichino was architect to Gregory XV. -Raphael was a sculptor and architect, and designed St. Peter's and the Caffarelli Palace at Borne. -Rosa Salvator was a poet and musician.
