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turxd and ihifted; -f a  to.-vay thof~ jin      p 
pearances.* 
Thus the profile of moff obje ts, as well as faces, 
are rather more pleafing than their ful fronts 
Whence it is clear, the pleafure does not arife from 
feeing the exalt refemblance, which one fide bears the 
other, but from the knowledge that they do fo on ac- 
count of fitnefs, with defign, and for ufe.  For when 
the head of a fine woman is turn'd a little to one fide, 
which takes off from the exad fimilarity of the two halves 
of the face, and fonewhat reclining, fo varying fill 
more from the ftraight and parallel lines of a formal 
front face: it is always look'd upon as m   peafing. 
This is accordingly faid to be a graceful air of the 
head. 
It is a conRant rule in compofition in paintg to 
avoid regularity,  When we view a building, or any 
other objed in life, we have it in our power, by flift- 
ing the ground, to take that view of it which pleafes 
us beft; and in confequence of this, the painter if he is 
left to his choice, takes it on the angle rather than in 
front, as moft agreeable to the eye; becaufe the. regu- 
larity of the lines is taken away by their running into 
perfpedive, without lofing the idea of fitnefs: and 
when he is of neceffity obliged to give the front of a 
building, with all its equalities and parallelifms, he ge- 
nerally breaks (as it is term'd) fuch difagreeable appear- 
ances, by throwing a tree before it, or the fihadow of an 
D  2                    ima-