12 



Mr. Reinagle on the Beauties 



cave curve, and the figures in several points radiate to a 

 centre. Some of the group pass the great leading line, but 

 only to the degree and with the licence that a genius can effect, 

 which destroys the too great, and the too palpable construction 

 of the composition. The allegorical figures of Fame and Genius 

 hovering over the royal personage, establish a centre to the 

 oval, which prevents a void that would have been weak in the 

 composition. 



Three designs were next produced from Etruscan vases, to 

 carry the evidence further, and to show the original source of 

 the demonstrations of beauty in Grecian art. One was a cha- 

 rioteer driving a pair of magnificent horses of the highest spirit, 

 Fig. 22. The composition is elliptic, and serpentine within. 



Fig, 22. 



Mt/f 



The youthful conductor of the steeds is in a crescent or 

 boat-shaped car, and his form is elegantly bent to meet the 

 action and motion ; his mantle flows behind in curved and ser- 

 pentine folds, expressing the wind occasioned by the velocity of 

 action. A more graceful or beautiful group and composition 

 cannot be imagined. 



The next design was a female in an elegant and very gentle 

 serpentine action of the figure. Every portion of the outlines 

 was elegant, from the varied succession of convexity and con-» 

 cavity ; not a single angle could be traced throughout the whole 



