If we imagine an addition of dimensions to the head, we shall immediately conceive it would only deform—if to the hands or feet, we are sensible of something gross and ungenteel,—if to the whole lengths of the arms, we feel they would be dangling and aukward—if by an addition of length or breadth to the body, we know it would appear heavy and clumsy—there remains then only the neck, with the legs and thighs to speak of; but, to these we find, that not only certain additions may be admitted without causing any disagreeable effect, but that thereby greatness, the last perfection as to proportion, is given to the human form; as is evidently express'd in the Apollo: and may still be further confirmed by examining the drawings of Parmigiano, where these particulars are seen in excess; yet on this account his works are said, by all true connoisseurs, to have an inexpressible greatness of taste in them, though otherwise very incorrect.
Let us now return to the two general ideas we set out with at the beginning of this chapter, and recollect that under the first, on surface, I have shewn in what manner, and how far human proportion is measureable, by varying the contents of the body, conformable to the given proportion of two lines. And that under the second and more extensive general idea of form, as arising from fitness for movement, &c. I have endeavour'd to explain, by every means I could devise, that every particular and minute dimension of the body, should conform to such purposes of movement, &c. as have been first properly considered and determined: on which conjunctively, the true proportion of every character must depend; and is found so to do, by our joint-sensation of bulk and motion. Which account of the proportion of the human body, however imperfect, may possibly stand its ground, till one more plausible shall be given.
As the Apollo [Fig. 12 p. I] has been only mention'd on account of the greatness of its proportion, I think in justice to so fine a performance; and also as it is not foreign to the point we have been upon, we may subjoin an Observation or two on its perfections.
Besides, what is commonly allow'd, if we consider it by the rules here given for constituting or composing character, it will discover the author's great sagacity, in choosing a proportion for this deity, which has served two noble purposes at once; in that these very dimensions which appear to have given it so much dignity, are the same that are best fitted to produce the utmost speed. And what could characterise the god of day, either so strongly or elegantly, to be expressive in a statue, as superior swiftness, and beauty dignify'd? and how poetically doth the action it is put into, carry on the allusion to speed,[11] as he is lightly stepping forward, and seeming to shoot his arrows from him; if the arrows may be allowed to signify the sun's rays? This at least may as well be supposed as the common surmise, that he is killing the dragon, Python; which certainly is very inconsistent with so erect an attitude, and benign an aspect[12].
[11]——the sun: which cometh forth as a bridegroom out of his chamber, and rejoiceth as a giant to run his course. Psalm xix. 5.
[12] The accounts given, in relation to this statue, make it so highly probable that it was the great Apollo of Delphos, that, for my own part, I make no manner of doubt of its being so.
Nor are the inferior parts neglected: the drapery also that depends from his shoulders, and folds over his extended arm, hath its treble office. As first, it assists in keeping the general appearance within the boundary of a pyramid, which being inverted, is, for a single figure, rather more natural and genteel than one upon its basis. Secondly, it fills up the vacant angle under the arm, and takes off the straightness of the lines the arm necessarily makes with the body in such an action; and, lastly, spreading as it doth, in pleasing folds, it helps to satisfy the eye with a noble quantity in the composition altogether, without depriving the beholder of any part of the beauties of the naked: in short, this figure might serve, were a lecture to be read over it, to exemplify every principle that hath been hitherto advanced. We shall therefore close not only all we have to say on proportion with it, but our whole lineal account of form, except what we have particularly to offer as to the face; which it will be proper to defer, till we have spoken of light and shade and colour.
As some of the ancient statues have been of such singular use to me, I shall beg leave to conclude this chapter with an observation or two on them in general.
It is allowed by the most skilful in the imitative arts, that tho' there are many of the remains of antiquity, that have great excellencies about them; yet there are not, moderately speaking, above twenty that may be justly called capital. There is one reason, nevertheless, besides the blind veneration that generally is paid to antiquity, for holding even many very imperfect pieces in some degree of estimation: I mean that peculiar taste of elegance which so visibly runs through them all, down to the most incorrect of their basso-relievos: which taste, I am persuaded, my reader will now conceive to have been entirely owing to the perfect knowledge the ancients must have had of the use of the precise serpentine-line.