§10,11. FORMATION OP A DESIGN. 187 



when finished, having no motive, is utterly unmeaning. This 

 putting together a number of parts to form a whole is indeed 

 the besetting sin of incapable minds, and is too often witnessed 

 in the productions of architects as well as of those who make 

 ornamental models ; and instead of the building or other work 

 being conceived in the mind as a whole, of which the details 

 are the necessary accessories, each part is added in order to 

 complete the design ; and as there is no keeping and no neces- 

 sary connection between them, many a one is removed, 

 altered, or varied without any reference to the general com- 

 position. 



In the furniture of our houses examples of similar additions 

 without an object, either for ornament or use, are abundant. 

 Of such a kind are tables with geese or swans striving to 

 thrust their necks against its central pillar, with no apparent 

 reason unless to turn their less graceful tails to the company, 

 and serving no more purpose than the wooden scrolls of 

 of another, that seem to have fallen on their backs upon the 

 plinth. 



Fig. 1. Fig. 2. 



11. It has been said by Pliny, that the Greeks combined 

 the forms of several beautiful women, in order to constitute a 

 perfect model ; but the notion of this compound figure is such 

 as a Koman might, but no Greek artist of real talent would, 

 entertain. The latter would form in his mind the conception 

 of perfect beauty, more perfect than he might find in one in- 

 dividual ; but he would not put together the material parts 

 of different figures to create it ; and such a construction of a 

 statue would imply an utter deficiency of genius. 



Neither the Venus of Milo, nor any other known statue of 



