SECT. XVII.

BEAUTY IN COLOUR.

AS to the colours ufually found in beautiful bodies, it may be fomewhat difficult to afcertain them, because, in the several parts of nature, there is an infinite variety. However, even in this variety, we may mark out fomething on which to fettle. Firft, the colours of beautiful bodies must not be dusky or muddy, but clean and fair. Secondly, they must not be of the strongest kind. Those which feem moft appropriated to beauty, are the milder of every fort; light greens; foft blues; weak whites; pink reds; and violets. Thirdly, if the colours be ftrong and vivid, they are always diverfified, and the object is never of one ftrong colour; there are almost always fuch a number of them, (as in variegated flowers) that the ftrength and glare of each is confiderably abated. In a fine complexion, there is not only fome variety in the colouring, but the colours: neither the red nor the white are ftrong and glaring. Befides, they are mixed in fuch a manner, and with fuch gradations, that it is impoffible to fix the bounds. On the fame principle it is, that the dubious colour in the necks and tails of peacocks, and about the heads of drakes, is fo very agreeable. In reality, the beauty both of fhape

and

and colouring are as nearly related, as we can well fuppofe it poffible for things of fuch different na

tures to be.

SECT. XVIII.

RECAPITULATION.

On the whole, the qualities of beauty, as they are merely fenfible qualities, are the following, First, to be comparatively small. Secondly, to be fmooth. Thirdly, to have a variety in the direction of the parts; but, fourthly, to have those parts not angular, but melted as it were into each other. Fifthly, to be of a delicate frame, without any remarkable appearance of strength. of ftrength. Sixthly, to have its colours clear and bright, but not very ftrong and glaring. Seventhly, or if it fhould have any glaring colour, to have it diverfified with others. These are, I believe, the properties on which beauty depends; properties that operate by nature, and are lefs liable to be altered by caprice, or confounded by a diversity of tastes, than any

other.

SECT. XIX.

THE PHYSIOGNOMY.

THE Phyfiognomy has a confiderable share in beauty, especially in that of our own fpecies. The

manners give a certain determination to the coun tenance; which being obferved to correfpond 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 foftnefs, fmoothness, and delicacy of the outward form.

SECT. XX.

THE EYE.

I have hitherto purposely omitted to speak of the Eye, which has fo 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, firft, in its clearness what coloured eye fhall pleafe moft, dépends a good deal on particular fancies; but none are pleased with an eye whose 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, glafs, and fuch like tranfparent fubftances. Secondly, the motion of the eye contributes to its beauty, by continually shifting

*Part IV. Sect. 25.

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

SECT. XXI.

UGLINESS.

IT-may perhaps appear like a fort of repetition of what we have before faid, to infift here upon the nature of Ugliness; as I imagine it to be in all refpects the oppofite to thofe qualities which we have laid down for the conftituents of beauty. But though uglinefs be the oppofite to beauty, it is not the oppofite to proportion and fitnefs. 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

R 3

2

fublime idea, unless united with fuch qualities as excite a strong terrour.

SECT. XXII.

GRACE,

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 these, to be graceful, it is requifite that there be no appearance of difficulty; there is required a small inflection of the body; and a composure of the parts in such a manner, as not to incumber each other, not to appear divided by fharp and fudden angles. In this eafe, this roundnefs, this delicacy of attitude and motion, it is that all the magick of grace consists, and what is called its je ne fçai quoi; as will be obvious to any obferver, who confiders attentively the Venus de Medicis, the Antinous, or any statue generally als lowed to be graceful in a high degree.

SECT. XXIII.

ELEGANCE AND SPECIOUSNESS.

WHEN any body is compofed of parts fmooth and polished, without preffing upon each other, without fhewing any ruggednefs or confufion, and at the fame time affecting fome regular foape, I call