Now turn to the figure of _Prudence_. Here the action is much simpler. The body faces in the same direction that the legs extend. But it leans back a little. If you try the action yourself, you will find it difficult, for the stretching out of the legs makes you wish to bring your body forward, so as to make the balance easy. But Raphael, knowing this, has made _Prudence_ prop up her body, as it were, by leaning its weight on her left arm. Do you see how this forces up her left shoulder? The representation of this and the drawing of the arm make us feel what a pressure of weight downwards the hand has to support. Artists, you will find, usually make some one part of the figure carry the chief weight. Sometimes they may paint a standing figure in which the weight passes straight down through the figure and is supported evenly by the two feet, like a column bearing down on to its base. But, more often, they make one leg carry the chief weight, or, as in this figure, one arm. Then it becomes very interesting; first, to study the part of chief _muscular strain_, and secondly, to note how all the other parts of the action harmonise with it. For example, in this figure of Prudence, although the arm sustains the chief pressure, a considerable amount must bear down through her trunk[2] on to the seat. But, if we compare her trunk with that of _Moderation_, I think we shall feel at once that the latter is supporting the greater weight. In fact, the point of greatest muscular action in the figure of _Moderation_ is at the base of the trunk.