Although the curve of the perfect circle is dull from its lack of variety, it is not without beauty, and this is due to its perfect unity.  It is of all curves the most perfect example of static unity.  Without the excitement of the slightest variation it goes on and on for ever.  This is, no doubt, the reason why it was early chosen as a symbol of Eternity, and certainly no more perfect symbol could be found.

The circle seen in perspective assumes the more beautiful curve of the ellipse, a curve having much variety; but as its four quarters are alike, not so much as a symmetrical figure can have.

Perhaps the most beautiful symmetrically curved figure of all is the so-called egg of the well-known moulding from such a temple as the Erechtheum, called the egg and dart moulding.  Here we have a perfect balance between variety and unity.  The curvature is varied to an infinite degree, at no point is its curving at the same ratio as at any other point; perhaps the maximum amount of variety that can be got in a symmetrical figure, preserving, as it does, its almost perfect continuity, for it approaches the circle in the even flow of its curvature.  This is, roughly, the line of the contour of a face, and you may note how much painters who have excelled in grace have insisted on it in their portraits.  Gainsborough and Vandyke are striking, instances.

[Illustration:  Diagram VII.

EGG AND DART MOULDING FROM ONE OF THE CARYATIDES FROM THE ERECHTHEUM IN
THE BRITISH MUSEUM]

The line of a profile is often one of great beauty, only here the variety is apt to overbalance the unity or run of the line.  The most beautiful profiles are usually those in which variety is subordinated to the unity of the contour.  I fancy the Greeks felt this when they did away with the hollow above the nose, making the line of the forehead run, with but little interruption, to the tip of the nose.  The unity of line is increased, and the variety made more interesting.  The idea that this was the common Greek type is, I should imagine, untrue, for their portrait statues do not show it.  It does occur in nature at rare intervals, and in most Western nationalities, but I do not think there is much evidence of its ever having been a common type anywhere.

[Illustration:  Diagram VIII.

ILLUSTRATING VARIETY IN SYMMETRY

Note how the hollows marked A are opposed by fullnesses marked B.]

In drawing or painting a profile this run or unity of the line is the thing to feel, if you would express its particular beauty.  This is best done in the case of a painting by finally drawing it with the brush from the background side, after having painted all the variety there is of tone and colour on the face side of the line.  As the background usually varies little, the swing of the brush is not hampered on this side as it is on the other.  I have seen students