Symmetry

Action is a sort of language which perhaps, one time or other, may come to be taught by a kind of grammar rules; but, at present, is only got by rote and imitation.

The general idea of an action, as well as of an attitude, may be given with a pencil in very few lines.

Out of the great number of faces that have been formed since the creation of the world, no two have been so exactly alike...

The utmost beauty of coloring depends on the great principle of varying, and on the proper and artful union of that variety.

Under this head I shall attempt to show what it is that gives the appearance of that hollow or vacant space in which all things move so freely.

As light must always be supposed, I need only speak of such privations of it as are called shades or shadows

If anyone should ask, what it is that constitutes a fine proportioned human figure? how ready and seemingly decisive is the common answer...

I beg the reader's patience while I lead him step by step into the knowledge of what I think the sublime in form, so remarkably displayed in the human body.

Simplicity, without variety, is wholly insipid, and at best does only not displease; but when variety is joined to it, then it pleases.

Intricacy in form, therefore, I shall define to be that peculiarity in the lines, which compose it, that leads the eye a wanton kind of chase

Forms of magnitude, although ill-shaped, will however, on account of their vastness, draw our attention and raise our admiration.

The straight line and the circular line, together with their different combinations and variations, circumscribe all visible objects.

We will next show how lines may be put together, so as to make pleasing figures or compositions.

There is scarce a room in any house whatever, where one does not see the waving-line employed in some way or other.

In which we learn that symmetry is over-rated and uniformity is boring.