His book is divided into chapters, treating of _fitness_, _variety_, _symmetry_, _simplicity_, _intricacy_, _quantity_, _lines_, _forms_, _composition with the waving line_, _proportion_, _light and shade_, _colouring_, _attitude_, _and action_. The hypothesis which he endeavours to establish is illustrated by near three hundred explanatory figures, with references to each. _ANALYSIS OF BEAUTY._ PLATE I. "So vary'd he, and of his tortuous train Curl'd many a wanton wreath in sight of Eve, To lure her eye." --MILTON. [Illustration: ANALYSIS OF BEAUTY, PLATE I.] If the figures which compose this plate are considered independent of the volume, they will appear sufficiently incongruous. He has given us curves and curvatures, straight lines and angles, circles and squares. He has ransacked the garden for examples, and drawn from the shops of the blacksmith, founder, and cabinetmaker, illustrations of his doctrine. To the beauteous and elegant Grecian Venus,[16] he has opposed the venerable English judge, arrayed in an ample robe, with his head enveloped in a periwig like the mane of a lion. The naked majesty of the Apollo Python is contrasted with an English actor, dressed by a modern tailor and barber, to personate a Roman general. The elegant winding lines of an Egyptian sphynx are opposed by a bloated, overcharged, recumbent Silenus. The uniform, coldly correct figures of Albert Durer's drawing-book, that never deviate into grace, to the antique _torso_, in which Michael Angelo asserted he discovered every principle that gave so grand a _gusto_ to his own works. Three anatomical representations of the muscles which appear in a human leg when the skin is taken off, are placed close to a shapeless pedestal in a shoe and stocking, which by disease has, in the painter's phrase, _lost its drawing_. A fine wire, properly twisted round the figure of a cone, represented in Number 26, as giving that elegant wave which adds grace to beauty, is the leading principle on which he builds his system of serpentine lines. Of this ancient _grace_, opposed to modern _air_, he could not have selected better examples than Numbers 6 and 7, where Mr. Essex, an English dancing-master, places himself in such an attitude as he thinks the sculptor ought to have given the Antinous, who he is ludicrously enough handing out to dance a minuet.