If the general parts of objects are preserv'd large at first, they will always admit of farther enrichments of a small kind, but then they must be so small as not to confound the general masses or quantities.—thus you see variety is a check upon itself when overdone, which of course begets what is call'd a petit taste and a confusion to the eye.
It will not be amiss next to shew what effects an object or two will have that are put together without, or contrary to these rules of composing variety. Figure [38 L p. I], is taken from one of those branches fixt to the sides of common old-fashion'd stove-grates by way of ornament, wherein you see how the parts have been varied by fancy only, and yet pretty well: close to which [Fig. 39 L p. I] is another, with about the like number of parts; but as the shapes, neither are enough varied as to their contents, nor in their situations with each other, but one shape follows its exact likeness: it is therefore a disagreeable and tasteless figure, and for the same reason the candlestick, fig. [40 T p. I] is still worse, as there is less variety in it. Nay, it would be better to be quite plain, as figure [41 T p. I], than with such poor attempts at ornament.
These few examples, well understood, will, I imagine, be sufficient to put what was said at the beginning of this chapter out of all doubt, viz. that the art of composing well is no more than the art of varying well; and to shew, that the method which has been here explain'd, must consequently produce a pleasing proportion amongst the parts; as well as that all deviations from it will produce the contrary. Yet to strengthen this latter assertion, let the following figures, taken from the life, be examin'd by the above rules for composing, and it will be found that the Indian-fig or torch-thistle, figure [42 T p. I], as well as all that tribe of uncouth shaped exotics, have the same reasons for being ugly, as the candlestick, fig. 40; as also that the beauties of the Lily [Fig. 43 T p. I] and the calcidonian Iris [Fig. 44 T p. I] proceeds from their being composed with great variety, and that the loss of variety, to a certain degree, in the imitations of those flowers underneath them (fig. 45 and 46) is the cause of the meanness of their shapes, tho' they retain enough to be call'd by the same names.
Hitherto, with regard to composition, little else but forms made up of straight and curv'd lines have been spoken of, and though these lines have but little variety in themselves, yet by reason of the great diversifications that they are capable of in being join'd with one another; great variety of beauty of the more useful sort is produced by them, as in necessary utensils and building: but in my opinion, buildings as I before hinted, might be much more varied than they are, for after fitness hath been strictly and mechanically complied with, any additional ornamental members, or parts, may, by the foregoing rules, be varied with equal elegance; nor can I help thinking, but that churches, palaces, hospitals, prisons, common houses and summer houses, might be built more in distinct characters than they are, by contriving orders suitable to each; whereas were a modern architect to build a palace in Lapland, or the West-Indies, Paladio must be his guide, nor would he dare to stir a step without his book.
Have not many gothic buildings a great deal of consistent beauty in them? perhaps acquired by a series of improvements made from time to time by the natural persuasion of the eye, which often very near answers the end of working by principles; and sometimes begets them. There is at present such a thirst after variety, that even paltry imitations of Chinese buildings have a kind of vogue, chiefly on account of their novelty: but not only these, but any other new-invented characters of building might be regulated by proper principles. The mere ornaments of buildings, to be sure, at least might be allow'd a greater latitude than they are at present; as capitals, frizes, &c. in order to increase the beauty of variety.