Fig. 6.
Fig. 7.
Fig. 8.
To follow up the principle by regular steps, and to open a clear view of the laws of beauty in lines, there were traced some inclined right lines (Fig. 5), with a regular set of right angles upon it, like the stems of leaves on each side. This exhibited no sort of beauty, nor any other advantage than mere combinations of formal angles. The next diagram (Fig. 6) was an inclined line as before, with similar angular projecting stems, to which were added elliptic curves on the upper side of each branch, that produced the form of a leaf. Fig. 7 was another inclined line, having oval curves upon it. Both these were shown to possess principles approaching to beauty, by progressive advances in combination and original structure. Fig. 8 was an inclined line with the oval curves upon it; to which a similar addition of elliptic curves were adjoined to the stems, [p004] as in Fig. 6. This addition made a new advance towards beauty. Fig. 9 commenced a more perfect principle of beauty, having an elliptic stem with oval branches rising from it, as in the others. If to this, the principle of gradation had been given, the eye would prefer it; I mean, by a scale of increase from the top to the bottom of the projecting stems: and if there had been superadded the external contour of a lengthened egg, like the form of a sage leaf, we should, step by step, advance into the region of beautiful character of exterior shape. Fig. 10 is a retrograde, showing how uncongenial angular forms are to curved lines, when producing ornament; at least how little our eye can bear the angular projections from the elliptic or oval turned stem. Fig. 11 was a curve of exactly the same disk, with the same oval stems, to which a small serpentine addition was made, expressing a leaf. Of all the last seven diagrams, this abounded with the greatest portion of beautiful lines, and is indisputably the most agreeable and beautiful. Combinations are like numericals; many of these forms, placed together with judgment and discretion, will attract us from the larger proportion of beauty that meets the eye at once, like a head of beautiful hair: one hair, however gracefully bent, cannot impress us like an entire lock of the hair; nor will this [p005] curl charm us as the whole will on the human head. We owe to construction and combination all our pleasurable feelings of beauty: no person is allured by a single feature of any species of objects: but a thousand, or a million, arouses our anxious notice. Thus, the last diagram of the elliptic stem and the foliage upon it, exhibited, by the continuity of curved lines, the greatest approach to beauty, of all the figures presented to the notice of the audience.
Fig. 9.
Fig. 10.
Fig. 11.
