and to the disposition of them as regards their relation one to another. The disposition of figures must, however, necessarily in many respects, be governed by rules wholly different to those which regulate the individual formation and construction of these figures separately, although based on the same principles. The effect of the representation often, indeed, depends as much upon the proper disposition, as upon the actual nature and constitution of the figures which compose it.

The disposition of figures in a composition is nearly analogous to the disposition of words in a sentence; and the leading considerations which in each case direct the arrangement, must be the perspicuity and force, and pleasing effect and general result of the whole. In this respect, we must in both cases regard alike the independent and essential quality and character of each figure and word by itself; and also the effect produced upon each, and upon the whole, by their several relations with, and particular position in regard to the others. Like the elements in the constitution of picturesque orders, some of these figures will be passive, others active. Some will stand independent by themselves, and some are important only as auxiliary to certain others. Some represent things real and animate, others those which are lifeless and inert. Some are absolutely essential for the completion of the composition; while others might be well, and perhaps advantageously dispensed with. Moreover, as certain chemical compounds are of but little value by themselves, and depend almost wholly for their own effect upon those with which they are mixed; so is it also very often with regard to figures in a composition, which are as much dependent on those about them, as they are on themselves, for the result they may occasion. In music, too, a single note may produce but little effect, while joined with others it may be of the most powerful nature. Thus also of a word which contributes to eloquence in an oration, or of colour which contributes to beauty in a painting. As in the case of the general principles of design already referred to, so also with respect to the proper distribution of the figures in a composition, nature is the best guide, and affords an example in nearly every scene she presents, where the harmonious and

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effective disposal of the different characters and groups may be observed.

With respect to some points, however, there are certain axioms or rules to be kept in view with regard to artistical composition, which proceed quite beyond any of the principles of design, although they may be somewhat analogous to, and have their germ in them. This is the case with the axiom now about to be propounded, which is one of the first that is necessary to be observed in relation to the disposition of the figures in a composition, and which consists in the division of them into principal and subordinate; the former of these being the leading hero in the piece, and to whom all the others bend, of which we have many forcible examples in different renowned artistical compositions.

The principal figure in the piece is indeed to the subordinate what the face is to the rest of the body, in which respect composition is strictly analogous to delineation. Such figure may be distinguished alike by its height, by the light which falls upon it, or by the particular part of the composition which it occupies. Although it should at once appear and strike the eye, the mode of its doing so is a matter of no moment. Every figure should be complete as regards itself, though incomplete as regards the whole composition. Moreover, the different figures should, by their proper disposition, not only aid the effect of the entire piece, but that of each other also. In painting, the examples which serve to illustrate this principle are numerous, and may be seen in every great work of this kind. In eloquence and poetry, how much depends on the due disposition of the ideas and metaphors excited or described! They owe nearly as much to their appropriate placing, as to their individual character. This is one of the main tests of the skill of the highest composers in each art. Shakspeare is very successful in this respect, and throughout his plays the due distribution of the figures or characters who compose the piece is admirably preserved. In architectural composition, the proper regulation of the several parts of the building, is analogous to the disposition of the figures in a composition in painting. In acting, the placing of the performers proceeds upon principles

closely analogous to those observed with regard to compositions in painting. And in gardening also, corresponding rules are obviously and easily applicable as regards the laying out of the grounds, and the disposal of various objects, whether in the shape of trees, or borders, or rocks, or pieces of water.

V. The same principles which are applicable for our guidance in the distribution of the different figures in a composition are also applicable to the distribution of the different groups. And as in figures the principal one takes the lead, and all the others are subordinate to it; so among groups there is in a corresponding manner a principal one to which the other groups are subordinate. Here also, as in the cases already mentioned, nature is the best and the surest guide, and affords the fullest example both of the observance of this principle, and of the advantages resulting from its due observance.

Indeed, in the disposal of groups as well as in the arrangement of figures, nature exhibits a variation at once infinite and astonishing; and this she effects moreover in those groups which might be expected on a calculation to appear the most monotonous and unvaried. Thus, in the disposal of the starry firmament, where each object out of thousands closely resembles the other alike in shape and colour and general appearance; such is the arrangement of the different planets and groups and clusters and constellations, that the utmost variety is produced.

It is, however, further to be observed that in nature the principle of perspective, which at once of itself causes a considerable apparent difference in size of many figures and groups, according to their respective relative distance from the eye, greatly conduces to assist in her this variation. Many objects which when viewed together appear exactly similar, by the effect of perspective seem totally different. Distance, moreover, has the effect of changing the appearance of objects not only as regards their size, but their shape and colour. In compositions in painting and bas-relief, where all the groups are equidistant from the eye, we must copy the effect produced by nature as the result of perspective. In sound, distance occasions also a variation or modulation, the effect of which

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must be imitated in music, analogously to the mode in which perspective is availed of in painting.

The limbs of a figure are to the figure what the figure itself is to the group, and the group itself to the whole composition.

The precise mode of regulating the disposal of figures and groups in a composition, is beyond the scope of the rules of art. This principle must necessarily vary according to the nature of the particular composition, or the mental capacities of the composer. Not only should each figure in the composition further the general design, but each attitude and expression and form and gesture should contribute to the uniform result of the whole; and the very shape and character of the limbs should accord with and conduce to add effect to the form and expression of the features. The contortions of the body should, as it were, echo or shadow the character displayed by the countenance, as the latter must be supposed to reflect the emotions of the soul.

In the painting of the 'Last Judgment' by Michael Angelo, the various groups collected in it, although each bearing their part in the whole design, appear as distinct and independent, and consequently as capable of disposition, as the individual figures themselves; and therefore admit as fully of the principles here enunciated being applied to them. This is also equally the case with groups of figures or buildings or trees in a landscape. But in every case, however independent each group may appear, it should contribute to aid the general effect of the composition.

VI. The various personages and parts in a composition should bear the same relation to one another, and to the principal figure or individual in it, as the different members of the same body, although varying extensively in their nature and purposes, and exercising very different functions one from the other, bear to one another, and especially to the head. Indeed, the several features in a particular individual face may be made to match as ill one with another as the different limbs in the same figure, or the different figures in the same group.

Although these several parts of the composition may be

all actually disconnected, they are all related to each other. Each part, as it were, fits and adapts itself to the rest; and each is essential for the completion of the whole. Like the different creations in nature, all bear their respective and appropriate parts in the same grand system; or like the various animals of the same species, although they are each different, and each independent one of another, yet they are all of the same nature, and all aid in the economy of the race.

The subordination to the principal of the secondary parts of the composition, should also be analogous to what we see in the civil government of a country, where each person preserves his proper gradation, from the supreme ruler, through all the various ranks. Moreover, by the observance of this principle the several portions of the composition are not only united together, but are made to occupy and preserve their due and appointed position.

Not only should every figure and every expression and action contribute to the general effect, but whatever does not tend to this purpose more or less deteriorates from it. A useless figure is an intruder, and hinders the development of the story. And there should be the same harmony and proportion between the different figures and colours and lights and shades in a picture, as between the different parts and colours and shades of each object in it.

A considerable effect as regards the general vigour and impressiveness of the entire piece, is produced by the concentration together into one composition of a variety of different objects and circumstances which all tend to the same result, and to excite the same emotions in the mind, whether painful or pleasurable, and whether of sublimity, beauty, terror, or surprise. In the Last Judgment' of Michael Angelo, notwithstanding the great diversity of incidents represented, every attendant circumstance, as well as the expression and attitudes of the various figures, contribute to the result of the whole. This is also seen in Raphael's admirable cartoons of 'Christ's Charge to Peter,' and of 'Paul Preaching at Athens;' and is, indeed, a characteristic feature of excellence in all the compositions by Raphael. Attention to nature is of great use