University of Virginia Library

I now offer to the public a short essay, accompanied with two explanatory
prints, in which I shall endeavour to shew what the principles are in nature,
by which we are directed to call the forms of some bodies beautiful,
others ugly; some graceful, and others the reverse; by considering more minutely
than has hitherto been done, the nature of those lines, and their different
combinations, which serve to raise in the mind the ideas of all the variety
of forms imaginable. . . . I have but little hopes of having a favourable
attention given to my design in general, by those who have already had a more
fashionable introduction into the mysteries of the arts of painting and sculpture.
Much less do I expect or in truth desire, the countenance of that set of
people, who have an interest in exploding any kind of doctrine, that may teach
us to see with our own eyes. [Pp. (33), 35]

. . . I shall proceed to consider the fundamental principles, which are
generally allowed to give an elegance and beauty, when duly blended together,
to compositions of all kinds whatever; and point out to my readers, the particular
force of each, in those compositions in nature and art, which seem
most to please and entertain the eye, and give that grace and beauty, which is
the subject of this inquiry. The principles I mean, are Fittness, Variety,
Uniformity, Simplicity, Intricacy, and Quantity; - all which cooperate
in the production of beauty, mutually correcting and restraining each
other occasionally. [Pp. 47-48]

It is to be observed, that straight lines vary only in length, and therefore
are least ornamental.

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That curved lines, as they can be varied in their degrees of curvature, as
well as in their lengths, begin, on that account, to be ornamental.

That straight and curved lines, joined, being a compound line, vary more
than curves alone, and so become somewhat more ornamental.

That the waving line, or line of beauty, varying still more, being composed
of two curves contrasted, becomes still more ornamental and pleasing,
insomuch that the hand takes a lively movement in making it with pen or
pencil.

And that the serpentine line by its waving and winding at the same time
different ways, leads the eye in a pleasing manner along the continuity of its
variety, if I may be allowed the expression; and which by its twisting so many
different ways, may be said to enclose (though but a single line) varied contents;
and therefore all its variety, cannot be expressed on paper by one continued
line, without the assistance of the imagination, or the help of a figure;
see (Fig. 26, T. pl. 1) where that sort of proportioned winding line, which
will hereafter be called the precise serpentine line, or line of grace, is represented
by a fine wire properly twisted round the elegant and varied figure of
a cone. [Pp. 83-84]