"If different proportions," says Winckelmann, "are sometimes met with in any figure, as for example, in the beautiful trunk of a naked female figure in the possession of Signior Cavaceppi at Rome, in which the body from the navel to the sexual parts is of an uncommon length, it is most probable that such figures have been copied from nature, that is, from persons so formed."--Nothing certainly would be better founded in natural tendency than such idealization. All the three Greek methods of proportion being now before the reader, I must briefly notice other circumstances. In the head in particular, may be observed CHARACTER, or a permanent and invariable form, which defines its capabilities, and EXPRESSION, or temporary and variable forms, which indicate its actual functions. The teachers of anatomy for artists have not, that I know of, clearly described the causes of these. I may therefore observe, that as character is permanent and invariable, it depends _fundamentally_ on permanent and invariable parts--the bones; and as expression is temporary and variable, it depends on shifting and variable parts--the muscles. It is well observed by Mengs that, in relation to character, "the peculiar distinction of the ancients is, that from one part of the face, we may know the character of the whole." And, of expression, Winckelmann observes that "the portion which possesses beauty of expression or action, or beauty of both added to the figure of any person, is like the resemblance of one who views himself in a fountain; the reflection is not seen plainly unless the surface of the water be still, limpid, and clear; quiet and tranquillity are as suitable to beauty as to the sea. Expression and action being, in art as in nature, the evidence of the active or passive state of the mind, perfect beauty can never exist in the countenance unless the mind be calm and free from all agitation, at least from everything likely to change and disturb the lineaments of which beauty is composed." Now the details which, during the period of perfection in art, were so skilfully employed, were these very means of expression or circumstances attending and indicating them--minuter forms which are universal, and without which nature is imperfectly represented--minuter forms of the highest order, because the means of expressing intellect, emotion, and passion, if required.