The little ship, between figure 47 and 88 [p. I], suppos'd moving along the shore even with the eye, might have its top and bottom bounded by two lines at equal distances all the way, as A; but if the ship puts out to sea, these lines at top and bottom would seem to vary and meet each other by degrees, as B, in the point C, which is in the line where the sky and water meets, call'd the horizon. Thus much of the manner of perspectives adding beauty, by seemingly varying otherwise unvaried forms, I thought, might be acceptable to those, who have not learnt perspective. [Illustration: Fig. between Figs. 47 and 88] CHAPTER III. _Of UNIFORMITY, REGULARITY, or SYMMETRY_. It may be imagined that the greatest part of the effects of beauty results from the symmetry of parts in the object, which is beautiful: but I am very well persuaded, this prevailing notion will soon appear to have little or no foundation. It may indeed have properties of greater consequence, such as propriety, fitness, and use; and yet but little serve the purposes of pleasing the eye, merely on the score of beauty. We have, indeed, in our nature a love of imitation from our infancy, and the eye is often entertained, as well as surprised, with mimicry, and delighted with the exactness of counterparts: but then this always gives way to its superior love of variety, and soon grows tiresom. If the uniformity of figures, parts, or lines were truly the chief cause of beauty, the more exactly uniform their appearances were kept, the more pleasure the eye would receive: but this is so far from being the case, that when the mind has been once satisfied, that the parts answer one another, with so exact an uniformity, as to preserve to the whole the character of fitness to stand, to move, to sink, to swim, to fly, &c. without losing the balance: the eye is rejoiced to see the object turn'd, and shifted, so as to vary these uniform appearances. Thus the profile of most objects, as well as faces, are rather more pleasing than their full fronts. Whence it is clear, the pleasure does not arise from seeing the exact resemblance, which one side bears the other, but from the knowledge that they do so on account of fitness, with design, and for use. For when the head of a fine woman is turn'd a little to one side, which takes off from the exact similarity of the two halves of the face, and somewhat reclining, so varying still more from the straight and parallel lines of a formal front face: it is always look'd upon as most pleasing. This is accordingly said to be a graceful air of the head.