advanced part, that the feet of the figure may not be hidden from the sight, to the end that it may appear more pleasing; which the noble authors of these things have done, not in contempt of geometry and perspective, but for the satisfaction of the eyes, which was the end they proposed to themselves in all their works. We must therefore understand perspective as a science which is absolutely necessary, and which a painter must not want; yet without subjecting ourselves so wholly to it, as to become slaves of it. We are to follow it, when it leads us in a pleasing way, and shews us pleasing things; but for some time to forsake it, if it leads us through mire, or to a precipice. Endeavour after that which is aiding to your art, and convenient, but avoid whatsoever is repugnant to it; as the 59th rule teaches. [*†126.] “Let every member be made for its own head,” &c. That is to say, you ought not to set the head of a young man on the body of an old one; nor make a white hand for a withered body. Not to habit a Hercules in taffata, nor an Apollo in coarse stuff. Queens, and persons of the first quality, whom you would make appear majestical, are not to be too negligently dressed, or _en dishabillee_, no more than old men; the nymphs are not to be overcharged with drapery. In fine, let all that which accompanies your figures, make them known for what effectively they are. [*†128.] “Let the figures to which art cannot give a voice, imitate the mutes in their actions,” &c. Mutes having no other way of speaking, or expressing their thoughts, but only by their gestures, and their actions, it is certain, that they do it in a manner more expressive, than those who have the use of speech: for which reason, the picture which is mute, ought to imitate them, so as to make itself understood. [*†129.]