As a proof, see a composition of more parts, and a way by which those parts may be put together by a certain method of varying: i. e. how the one half of the socket of the candlestick A [Fig. 30 T p. I], may be varied as the other half B. Let a convenient and fit height be first given for a candlestick, as [Fig. 31 T p. I], then let the necessary size of the socket be determined, as at (a) [Fig. 32] after which, in order to give it a better form, let every distance or length of divisions differ from the length of the socket, as also vary in their distances from each other, as is seen by the points on the line under the socket (a); that is let any two points, signifying distance, be plac'd farthest from any other two near points, observing always that there should be one distance or part larger than all the rest; and you will readily see that variety could not be so complete without it.—In like manner, let the horizontal distances (always keeping within the bounds of fitness) be varied both as to distances and situations, as on the opposite side of the same figure (b); then unite and join all the several distances into a complete shell, by applying several parts of curves and straight lines; varying them also by making them of different sizes, as (c): and apply them as at (d) in the same figure, and you have the candlestick [Fig. 33 T p. I], and with still more variations on the other side. If you divide the candlestick into many more parts, it will appear crouded, as [Fig. 34 T p. I] it will want distinctness of form on a near view, and lose the effect of variety at a distance: this the eye will easily distinguish on removing pretty far from it.
Simplicity in composition, or distinctness of parts, is ever to be attended to, as it is one part of beauty, as has been already said: but that what I mean by distinctness of parts in this place, may be better understood, it will be proper to explain it by an example.
When you would compose an object of a great variety of parts, let several of those parts be distinguish'd by themselves, by their remarkable difference from the next adjoining, so as to make each of them, as it were, one well-shap'd quantity or part, as is marked by the dotted lines in figure [35 T p. I] (these are like what they call passages in music, and in writing paragraphs) by which means, not only the whole, but even every part, will be better understood by the eye: for confusion will hereby be avoided when the object is seen near, and the shapes will seem well varied, tho' fewer in number, at a distance; as figure [36 p. I] supposed to be the same as the former, but removed so far off that the eye loses sight of the smaller members.
The parsley-leaf [Fig. 37 T p. I], in like manner, from whence a beautiful foliage in ornament was originally taken, is divided into three distinct passages; which are again divided into other odd numbers; and this method is observ'd, for the generality, in the leaves of all plants and flowers, the most simple of which are the trefoil and cinquefoil.
Light and shade, and colours, also must have their distinctness to make objects completely beautiful: but of these in their proper places——only I will give you a general idea of what is here meant by the beauty of distinctness of forms, lights, shades, and colours, by putting you in mind of the reverse effects in all them together.
Observe the well-composed nosegay how it loses all its distinctness when it dies; each leaf and flower then shrivels and loses its distinct shape; and the firm colours fade into a kind of sameness: so that the whole gradually becomes a confused heap.