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{2. Proportion.} Of Proportion.
It’s called
Symmetry, Analogie, Harmony.
Proportion is of any part ; a Hand fitted to the bigness of a body.
Symmetry is the proportion of each finger to that bigness ; Analogie or Harmonie. All together in one ; a Concinnity of Harmony ; A congruence, or equality of parts and members ; or due connexion, in reference of all parts, one to the other, and all to the whole, which produceth a perfect Nature, or beauty.
{Of true beauty.} Whatsoever is made, after a conceived or Intelligible thing is Fair.
Whatsoever is made, after a thing generated, is not faire.
Beauty, may be perfectly conceived.
{Naturall and conceived.} True
beauty in any Creature, is not to be found ; being full of deformed disproportions, far remote from truth ; for sinne is the cause of deformity.
Beauty in truth, is, where Joynts and severally every part with the whole, hath its due proportion and measure ; and therefore hard to describe.
Beauty should consist but of One at the most ; and deformity contrariwise, measured by many : for the eeven Lineaments and due proportion of fair and goodly Persons, seem to be created and framed, by the judgement and sight of one form alone, which cannot be in deformed persons ; as with blub cheeks, bigg eyes, little nose, flat mouth, out chin, and brown skin, as it were moulded from many ill faces ; and yet some one part considered about, to be handsome, but altogether become ugly ; not for any other cause, but that they may be Lineaments of many fair women, and not of One. The Painter, did well, to procure all the fair maides naked, to judge of each severall and single perfection ; and so from the Idea of fancie, to shape a Venus. {By the Idea.}
{His brave and unpattern’d and unparallel’d Piece of
Artimesia.} And thus, by often exercise from severall beauties, you shall fixe a conceived Idea is your mind of accomplished Pulchritude grace or comlinesse, according to the true rule of Symmetry. […].
Beauty may be expressed by a comely body, though not of delicate features ; rather dignity of presence, than beauty of aspect. It is seen at the first sight. Favour more than Colour ; and yet that of decent and gratious motion, more than that of favour.
There is no excellent
beauty without some strangeness in the proportion, and both Apelles and Albert Durer, doe but trifles out the time and trouble us ; The One to compose a Personage by Geometricall proportion ; and Apelles by collecting the best parts from severall faces, to make one excellent. Indeed a Painter may make a better personage than ever was seen since the first Creation ; which he does by a kind of felicity, not by Rule, as a Musician doth his French Aires, not by true Method of setting.

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps