ANALYSIS of BEAUTY.

plealing manner along the continuity of its variety, if Imay be allowed the expression; and which by its twist-ing so many different ways, may be said to inclose (tho’but a single line) varied contents; and therefore all itsvariety cannot be exprefs’d on paper by one continuedline, without the assistance of the imagination, or thehelp of a figure; fee * where that sort of proportion’d,winding line, which will hereafter be call’d the preciseserpentine line, or line of grace , is represented by a finewire, properly twisted round the elegant and variedfigure of a cone.

CHAP. VIII.

Os what sort of Pa rt s, and how pleasing Forms are

composed.

'T'HUS far having endeavoured to open as large anA idea as possible of the power of variety, by havingpartly shewn that those lines which have most varietyin themselves, contribute most towards the productionof beauty; we will next shew how lines may be puttogether, so as to make pleasing figures or compositions.

In order to be as clear as possible, we will give a fewexamples of the most familiar and ealy fort, and letthem serve as a clue to be purlued in the imagination:

I fay in the imagination chiefly, for the following me-thod is not meant always to be put in practice, or fol-low’d in every case, for indeed • that could hardly be,

and