Besides, what is commonly allow'd, if we consider it by the rules here given for constituting or composing character, it will discover the author's great sagacity, in choosing a proportion for this deity, which has served two noble purposes at once; in that these very dimensions which appear to have given it so much dignity, are the same that are best fitted to produce the utmost speed. And what could characterise the god of day, either so strongly or elegantly, to be expressive in a statue, as superior swiftness, and beauty dignify'd? and how poetically doth the action it is put into, carry on the allusion to speed,[11] as he is lightly stepping forward, and seeming to shoot his arrows from him; if the arrows may be allowed to signify the sun's rays? This at least may as well be supposed as the common surmise, that he is killing the dragon, Python; which certainly is very inconsistent with so erect an attitude, and benign an aspect[12]. [11]----the sun: which cometh forth as a bridegroom out of his chamber, and rejoiceth as a giant to run his course. Psalm xix. 5. [12] The accounts given, in relation to this statue, make it so highly probable that it was the great Apollo of Delphos, that, for my own part, I make no manner of doubt of its being so. Nor are the inferior parts neglected: the drapery also that depends from his shoulders, and folds over his extended arm, hath its treble office. As first, it assists in keeping the general appearance within the boundary of a pyramid, which being inverted, is, for a single figure, rather more natural and genteel than one upon its basis. Secondly, it fills up the vacant angle under the arm, and takes off the straightness of the lines the arm necessarily makes with the body in such an action; and, lastly, spreading as it doth, in pleasing folds, it helps to satisfy the eye with a noble quantity in the composition altogether, without depriving the beholder of any part of the beauties of the naked: in short, this figure might serve, were a lecture to be read over it, to exemplify every principle that hath been hitherto advanced. We shall therefore close not only all we have to say on proportion with it, but our whole lineal account of form, except what we have particularly to offer as to the face; which it will be proper to defer, till we have spoken of _light_ and _shade_ and _colour_. As some of the ancient statues have been of such singular use to me, I shall beg leave to conclude this chapter with an observation or two on them in general.