Yet, properly speaking, no living creatures are capable of moving in such truly varied and graceful directions, as the human species; and it would be needless to say how much superior in beauty their forms and textures likewise are. And surely also after what has been said relating to figure and motion, it is plain and evident that nature has thought fit to make beauty of proportion, and beauty of movement, necessary to each other: so that the observation before made on animals, will hold equally good with regard to man: i. e. that he who is most exquisitely well-proportion'd is most capable of exquisite movements, such as ease and _grace in deportment_, or in dancing. It may be a sort of collateral confirmation of what has been said of this method of nature's working, as well as otherwise worth our notice, that when any parts belonging to the human body are conceal'd, and not immediately concern'd in movement, all such ornamental shapes, as evidently appear in the muscles and bones[6], are totally neglected as unnecessary, for nature doth nothing in vain! this is plainly the case of the intestines, none of them having the least beauty, as to form, except the _heart_; which noble part, and indeed kind of first mover, is a simple and well-varied figure; conformable to which, some of the most elegant Roman urns and vases have been fashion'd. [6] See Chapter IX on Compositions with the Serpentine-line. Now, thus much being kept in remembrance, our next step will be to speak of, first, general measurements; such as the whole height of the body to its breadth, or the length of a limb to its thickness: and, secondly, of such appearances of dimensions as are too intricately varied to admit of a description by lines. The former will be confined to a very few straight lines, crossing each other, which will easily be understood by everyone; but the latter will require somewhat more attention, because it will extend to the precision of every modification, bound, or limit, of the human figure.