On one side of a line A B (fig. 2, Plate X.) construct the rectilinear portion of a diagram the same as fig. 1. Through _i_ draw W Y parallel to A B, and draw A _z_ perpendicular to A B. Make W _a_ equal to A _a_ (fig. 1), and on _a l_, as major axis, describe the ellipse of (¹⁄₄). Through _a_ draw _a p_ parallel to A F, and through _p_ draw _p t_ perpendicular to W Y. Through _a_ draw _f a u_ perpendicular to W Y. Upon a diameter equal to A E describe a circle whose circumference shall touch A B and A _z_. With semi-axes equal to A _o_ and _o r_ (fig. 1), describe an ellipse with its major axis parallel to A B, and its circumference touching O P and _z_ A. [Sidenote: Plate XI.] Thus simply are the diagrams of the general proportions of the human figure, as viewed in front and in profile, constructed; and Plate XI. gives the contour in both points of view, as composed entirely of the curvilinear figures of (¹⁄₂), (¹⁄₃), (¹⁄₄), (¹⁄₅), and (¹⁄₆). Further detail here would be out of place, and I shall therefore refer those who require it to the Appendix, or the more elaborate works to which I have already referred. The beauty derived from proportion, imparted by the system here pointed out, and from a contour of curves derived from the same harmonic angles, is not confined to the human figure, but is found in various minor degrees of perfection in all the organic forms of nature, whether animate or inanimate, of which I have in other works given many examples.[21] THE SCIENCE OF BEAUTY, AS DEVELOPED IN COLOURS. There is not amongst the various phenomena of nature one that more readily excites our admiration, or makes on the mind a more vivid impression of the order, variety, and harmonious beauty of the creation, than that of colour. On the general landscape this phenomenon is displayed in the production of that species of harmony in which colours are so variously blended, and in which they are by light, shade, and distance modified in such an infinity of gradation and hue. Although genius is continually struggling, with but partial success, to imitate those effects, yet, through the Divine beneficence, all whose organs of sight are in an ordinary degree of perfection can appreciate and enjoy them. In winter this pleasure is often to a certain extent withdrawn, when the colourless snow alone clothes the surface of the earth. But this is only a pause in the general harmony, which, as the spring returns, addresses itself the more pleasingly to our perception in its vernal melody, which, gradually resolving itself into the full rich hues of luxuriant beauty exhibited in the foliage and flowers of summer, subsequently rises into the more vivid and powerful harmonies of autumn’s colouring. Thus the eye is prepared again to enjoy that rest which such exciting causes may be said to have rendered necessary.