It is a constant rule in composition in painting to avoid regularity. When we view a building, or any other object in life, we have it in our power, by shifting the ground, to take that view of it which pleases us best; and in consequence of this, the painter if he is left to his choice, takes it on the angle rather than in front, as most agreeable to the eye; because the regularity of the lines is taken away by their running into perspective, without losing the idea of fitness: and when he is of necessity obliged to give the front of a building, with all its equalities and parallelisms, he generally breaks (as it is term'd) such disagreeable appearances, by throwing a tree before it, or the shadow of an imaginary cloud, or some other object that may answer the same purpose of adding variety, which is the same with taking away uniformity. If uniform objects were agreeable, why is there such care taken to contrast, and vary all the limbs of a statue? [Illustration: Figs. 72, 6 and 7] The picture of Henry the Eighth [Fig. 72 p. II], would be preferable to the finely contrasted figures of Guido or Correggio; and the Antinous's easy sway [Fig. 6 p. I], must submit to the stiff and straight figure of the dancing-master [Fig. 7 p. I]; and the uniform out-lines of the muscles in the figure [Fig. 55 p. I] taken from Albert Durer's book of proportions, would have more taste in them than those in the famous part of an antique figure [Fig. 54 p. I] from which Michael Angelo acquired so much of his skill in grace. [Illustration: Figs. 55 and 54] In short, whatever appears to be fit, and proper to answer great purposes, ever satisfies the mind, and pleases on that account. Uniformity is of this kind. We find it necessary, in some degree, to give the idea of rest and motion, without the possibility of falling. But when any such purposes can be as well effected by more irregular parts, the eye is always better pleased on the account of variety. How pleasingly is the idea of firmness in standing convey'd to the eye by the three elegant claws of a table, the three feet of a tea-lamp, or the celebrated tripod of the ancients? Thus you see regularity, uniformity, or symmetry, please only as they serve to give the idea of fitness. CHAPTER IV. _Of SIMPLICITY, or DISTINCTNESS_. Simplicity, without variety, is wholly insipid, and at best does only not displease; but when variety is join'd to it, then it pleases, because it enhances the pleasure of variety, by giving the eye the power of enjoying it with ease. There is no object composed of straight lines, that has so much variety, with so few parts, as the pyramid: and it is its constantly varying from its base gradually upwards in every situation of the eye, (without giving the idea of sameness, as the eye moves round it) that has made it been esteem'd in all ages, in preference to the cone, which in all views appears nearly the same, being varied only by light and shade.