shadows, or shaded only on one side, produce very different effects. The groups in the middle are surrounded by shadows from the other figures, which are between them and the light. Those which are at the extremities have the shadows only on one side, and receive the light on the other. The strongest and smartest touches of shadows are to be in the interstice between the figures of the principal group where the light cannot penetrate[1].
Secondly, that by the order and disposition of the figures they appear to be accommodated to the subject, and the true representation of the history in question.
Thirdly, that the figures appear alive to the occasion which brought them together, with expressions suited to their attitudes.
Chap. CCCLIII.—How to make an imaginary Animal appear natural.
It is evident that it will be impossible to invent any animal without giving it members, and these members must individually resemble those of some known animal.
If you wish, therefore, to make a chimera, or imaginary animal, appear natural (let us suppose a serpent); take the head of a mastiff, the eyes of a cat, the ears of a porcupine, the mouth of a hare, the brows of a lion, the temples of an old cock, and the neck of a sea tortoise[2].
