[*†152.] As a play is seldom very good, in which there are too many actors; so it is very seldom seen, and almost impossible to perform, that a picture should be perfect, in which there are too great a {155.} number of figures. How “should they excel in putting several figures together, who can scarce excel in a single one?” “Many dispersed objects breed confusion, and take away from the picture that solemn majesty, and agreeable repose, which give beauty to the piece, and satisfaction to the sight. But if you are {160.} constrained by the subject to admit of many figures, you must then make the whole to be seen together, and the effect of the work at one view; and not every thing separately, and in particular.” [Sidenote: XVI. Of the joints and feet.] [*†162.] The extremities of the joints must be seldom hidden; and the extremities or end of the feet never. [Sidenote: XVII. The motions of the hands and head must agree.] [*†164.] The figures which are behind others, have neither grace nor vigour, unless the motions of the hands accompany those of the head. {165.} [Sidenote: XVIII. What must be avoided in the distribution of the figures.] Avoid “all odd aspects or positions, and all ungraceful or forced actions and motions.” Show no parts which are unpleasing to the sight, as all foreshortenings usually are. [*†169.] Avoid all those lines and outlines which are equal; which make parallels, or other sharp-pointed and geometrical figures; such as are squares and {170.} triangles: all which by being too exact, give to the eye a certain displeasing symmetry, which produces no good effect. But, as I have already told you, the principal lines ought to contrast each other: for which reason, in these outlines, you ought to have a special regard to the whole together: for it {175.} is from thence that the beauty and force of the parts proceed. [Sidenote: XIX. That we must not tie ourselves to nature; but accommodate her to our genius.] [*†176.] Be not so strictly tied to nature, that you allow nothing to study, and the bent of your own genius. But on the other side, believe not that your genius alone, and the remembrance of those things which you have seen, can afford you wherewithal to furnish out a beautiful piece, without the succour of that incomparable school-mistress, Nature; [*†178.] whom you must have always present as a witness to the truth. “Errors are infinite,” and, amongst many ways which {180.} mislead a traveller, there is but one true one, which conducts him surely to his journey’s end; as also there are many several sorts of crooked lines; but there is one only which is straight. [Sidenote: XX. Ancient figures the rules of imitating nature.]