Let the part which produces another part, be more strong than that which it produces; and let the whole be seen by one point of sight. [*†117.] Though perspective cannot be called a perfect ruler “for designing,” yet it is a great succour to art, and facilitates the “dispatch of the work:” though frequently {120.} falling into error, it makes us behold things under a false aspect; for bodies are not always represented according to the geometrical plane, but such as they appear to the sight. [Sidenote: VIII. Variety in the figures.] Neither the shape of faces, nor the age, nor the colour, ought to be alike in all figures, any more {125.} than the hair; because men are as different from each other, as the regions in which they are born are different. [Sidenote: IX. The members and drapery of every figure to be suitable to it.] [Sidenote: X. The actions of mutes to be imitated.] [*†126.] Let every member be made for its own head, and agree with it; and let all together compose but one body, with the draperies which are proper and suitable to it. And, above all, [*†128.] let the figures to which art cannot give a voice, imitate the mutes in their actions. [Sidenote: XI. Of the principal figure of the subject.] [*†129.] Let the principal figure of the subject appear in the middle of the piece, under the strongest light, {130.} that it may have somewhat to make it more remarkable than the rest; and that the figures which accompany it, may not steal it from our sight. [Sidenote: XII. Groups of figures.] [*†132.] Let the “parts be brought together, and the figures disposed in groups:” and let those groups be separated by a void space, to avoid a confused {135.} heap; which proceeding from parts that are dispersed without any regularity, and entangled one within another, divides the sight into many rays, and causes a disagreeable confusion. [Sidenote: XIII. The diversity of attitudes in the groups.] [*†137.] The figures in the groups ought not to “have the same inflections of the body, nor the same motions; nor should they lean all one way, but break {140.} the symmetry, by proper oppositions and contrasts. “To several figures seen in front oppose others with the back toward the spectator; that is, the shoulders of some opposed to the breasts of others, and right limbs to left, whether the piece consists of many figures, or but of few.” {145.} [Sidenote: XIV. Equality of the piece.] [*†145.] One side of the picture must not be void, while the other is filled to the borders; but let matters be so well disposed, that if “any thing rises high on one side of the piece, you may raise {150.} something to answer it on the other,” so that they shall appear in some sort equal. [Sidenote: XV. Of the number of figures.]