straightness of rhythmic relation, Michael-Angelo towards a more or less complex curve in his rhythm. Just as the surface abc continually cuts the surface of the finished drawing, sometimes lying witfein it, sometimes without, so the planes into which the figure is arbitrarily split, and which figure in the diagrams, repeatedly intersect the real surface of the figure. Thus the projecting angle at the lower part of the buttocks (Fig. 82) would have to be chamfered off, while just above additional volume would have to be superposed on the plane when we come to consider the rhythm of the final surface itself. The dotted line indicates schematically what I mean. Though the surface corresponding to the dotted line is finally quite different from the two planes which it has replaced, it must inherently possess their potentiality ; it must, so to say, start from them, be based, upon their conception.
Is it needful to point out all the facts expressed in Fig. 8 2 ? The projection backwards of the heel, the conjugation of the profiles at c and d which sweep forward in a pre-established harmony that is balanced by precisely the backward thrust of the heel, such facts of equilibrium of mass have already been treated on pp. 144. et seqq. ; to call repeated attention to the existence of such equilibria all over the body would be an endless task. * The body is nothing but an indefinite series of such balancings, grading downwards in importance from the great leg-curve we have just been studying, to formal equilibria established among the creases in the skin over the extended knuckles, and even lower to ultimate microscopic degree! It is the unique business of the artist to se'ek out such rhythmic equilibria and to turn them to an expressive use once a choice of them has been made.
It will of course be noticed that the great planes and masses have but little relation to the anatomical facts. Of this
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