founded by a diverfity of tastes, than

any other.

SECT. XIX.

The PHYSIOGNOM Y.

TH

HE Phyfiognomy has a confiderable share in beauty, especially in that of our own fpecies. The manners give a certain determination to the countenance; which being obferved to "correspond pretty regularly with them, is capable of joining the effects of certain agreeable qualities of the mind to those of the body. So that to form a finished human beauty, and to give it its full influence, the face must be expreffive of fuch gentle and amiable qualities, as correfpond with the foftness, fmoothness, and delicacy of the outward form.

SECT,

I

SE C T. XX.

The E Y E.

HAVE hitherto purposely omitted to speak of the Eye, which has so great a fhare in the beauty of the animal creation, as it did not fall fo eafily under the foregoing heads, though in fact it is reducible to the fame principles. I think then, that the beauty of the eye confifts, first, in its clearness; what coloured eye fhall please moft, depends a good deal on particular fancies; but none are pleased with an eye whofe water (to use that term) is dull and muddy*. We are pleafed with the eye in this view, on the principle upon which we like diamonds, clear water, glass, and fuch like tranfparent fubftances. Secondly, the motion of the eye contributes to its beauty, by continually shifting its di* Part IV. fect. 25.

rection;

ones;

rection; but a flow and languid motion is more beautiful than a brisk one; the latter is enlivening; the former lovely. Thirdly, with regard to the union of the eye with the neighbouring parts, it is to hold the same rule that is given of other beautiful it is not to make a strong deviation from the line of the neighbouring parts; nor to verge into any exact geometrical figure. Befides all this, the eye affects, as it is expreffive of fome qualities of the mind, and its principal power generally arifes from this; so that what we have juft faid of the phyfiognomy is applicable here.

IT

SE C T. XXI.

UGLINES S.

T may perhaps appear like a fort of repetition of what we have before said, to infist here upon the nature of Ugliness. As I imagine it to be in all respects

refpects the oppofite to thofe qualities. which we have laid down for the conftituents of beauty. But though ugliness, be the oppofite to beauty, it is not the oppofite to proportion and fitness. For it is poffible that a thing may be very ugly with any proportions, and with a perfect fitness to any ufes. Uglinefs I imagine likewife to be confiftent enough with an idea of the fublime. But I would by no means infinuate that ugliness of itself is a fublime idea, unless united with fuch qualities as excite a strong

terror.

SECT. XXII.

GRAC E.

GRACEFULNESS is an idea not

very different from beauty; it confifts in much the fame things. Gracefulness is an idea belonging to posture and motion. In both thefe, to be graceful, it

is

is requifite that there be no appearance of difficulty; there is required a fmall inflection of the body; and a composure of the parts in fuch a manner, as not to incumber each other, not to appear divided by sharp and fudden angles. In this ease, this roundness, this delicacy of attitude and motion it is that all the magic of grace confifts, and what is called its je ne fçai quoi; as will be obvious to any obferver, who confiders attentive-ly the Venus de Medicis, the Antinous, or any statue generally allowed to be graceful in an high degree,

SECT. XXIII.

ELEGANCE and SPECIOUSNESS.

WH

HEN any body is compofed of parts smooth and polished, without preffing upon each other, without fhewing any ruggedness or confufion, and at the same time affecting fome re

gular