This sort of form may be seen with yet more variations, (and therefore more beautiful) in the goat's horn, from which, in all probability, the ancients originally took the extremely elegant forms they have given their cornu-copias. There is another way of considering this last figure of the horn I would recommend to my reader, in order to give him a clearer idea of the use both of the waving and serpentine-lines in composition. This is to imagine the horn, thus bent and twisted, to be cut length-ways by a very fine saw into two equal parts; and to observe one of these in the same position the whole horn is represented in; and these two observations will naturally occur to him. First, that the edge of the saw must run from one end to the other of the horn in the line of beauty; so that the edges of this half of the horn will have a beautiful shape: and, secondly, that wherever the dotted serpentine-line on the surface of the whole horn dips behind, and is lost to the eye, it immediately comes into sight on the hollow surface of the divided horn. The use I shall make of these observations will appear very considerable in the application of them to the human form, which we are next to attempt. It will be sufficient, therefore, at present only to observe, first, that the whole horn acquires a beauty by its being thus genteely bent two different ways; secondly, that whatever lines are drawn on its external surface become graceful, as they must all of them, from the twist that is given the horn, partake in some degree or other, of the shape of the serpentine-line: and, lastly, when the horn is split, and the inner, as well as the outward surface of its shell-like form is exposed, the eye is peculiarly entertained and relieved in the pursuit of these serpentine-lines, as in their twistings their concavities and convexities are alternately offer'd to its view. Hollow forms, therefore, composed of such lines are extremely beautiful and pleasing to the eye; in many cases more so, than those of solid bodies. Almost all the muscles, and bones, of which the human form is composed, have more, or less of these kind of twists in them; and give in a less degree, the same kind of appearance to the parts which cover them, and are the immediate object of the eye: and for this reason it is that I have been so particular in describing these forms of the bent, and twisted, and ornamented horn.