this reafon, that when one is obferving the finest works of the artifts at Rome, where there is ftill the nobleft collection of any in the world, one feels the mind more ftruck and more charmed with the capital ftatues, than with the pictures of the greatest masters.

The two other conftituent parts of beauty are expression and grace: the former of which is common to all perfons and faces, and the latter is to be met with in very few. By expression, I mean the expreffion of the paffions; the turns and changes of the mind, fo far as they are made visible to the eye, by our looks or geftures.

Though the mind appears principally in the face, and attitudes of the head, yet every part almost of the human body, on fome occafion or other, may become expreffive. Thus the languifhing hanging of the arm, or the vehement exertion of it; the pain expreffed by the finger of one of the fons, in the famous groupe of Laocoon, and in the toes of the dying gladiator. But this, again, is often loft among us by our drefs; and, indeed, is of lefs concern, because the expreffion of the paffions paffes chiefly in the face, which we by good luck have not as yet concealed.

The parts of the face, in which the paffions most frequently make their appearance, are the eyes

and

and mouth; but from the eyes they diffuse themfelves very strongly about the eye brows, as, in the other cafe, they appear often in the parts all round the mouth.

Philofophers may difpute as much as they please about the feat of the foul: but, wherever it refides, I am sure that it speaks in the eyes. I do not know whether I have not injured the eyebrows, in making them only dependants on the eye; for they, efpecially in lively faces, have, as it were, a language of their own; and are extremely varied, according to the different fentiments and paffions of the mind.

We may fay, in general, that all the tender and kind paffions add to beauty, and all the cruel and unkind ones add to deformity; and it is on this account that good nature may, very justly, be faid to be the best feature, even in the finest face."

Mr. Pope has included the principal paffion of each fort in two very pretty lines. Love, Hope and Joy, fair pleasure's smiling train; Hate, Fear, and Grief the family of pain.

The former of which naturally give an additional luftre and enlivening to a beauty, as the latter are too apt to fling a gloom and cloud over it.

Yet in these, and all the other paffions, I do not know whether moderation may not be, in a great measure, the rule of their beauty, almoft as far as moderation in actions is the rule of virtue. Thus, an exceffive joy may be too boisterous in the face to be pleafing; and a degree of grief, in fome faces, and on fome occafions, may be extremely beautiful. Some degrees of anger, fhame, furprize, fear, and concern, are beautiful; but all excess is hurtful, and all excefs ugly. Dullnefs, aufterity, impudence, pride, affectation, malice, and envy, are, I believe, always ugly; fo that the chief rule of the beauty of the paffions is moderation, and the part in which they appear moft ftrongly is the eyes. It is there that love holds all his tendereft language: it is there that virtue commands, modefty charms, joy enlivens, forrow engages, and inclination fires the heart of the beholders: it is there that even fear, and anger, and confufion, can be charming. But all these, to be charming, muft be kept within their due bounds and limits; for too fullen an appearance of virtue, a violent prostitute fwell of paffion, a ruftic and overwhelming modefty, a deep sadness, or too wild and impetuous a joy, become all either oppreffive or difagreeable.

The last finishing and nobleft part of beauty is

Grace,

Grace, which every body is accustomed to speak of as a thing inexplicable, and in a great measure I believe it is fo. We know that the foul is, but we fcarce know what it is: every judge of beauty can point out grace, but no one has ever yet fixed npon a definition for it.

Grace often depends on fome very little incidents in a fine face; and, in actions, it confifts more in the manner of doing things, than in the things themselves. It is perpetually varying its appearances, and is therefore much more difficult to be confidered than any, thing fixed and fteady. While you look upon one it steals from under the eye of the obferver; and is fucceeded, perhaps, by another, that flits away as foon; and as imperceptibly

It is on this account that grace is better to be ftudied in Coregio's, Guido's, and Raphael's pictures, than in real life. Thus, for instance, if I wanted to discover what it is that makes anger graceful in a fet of features full of the greatest sweetness, I fhould rather endeavour to find it out in Guido's St. Michael, than in a beautiful lady's face; because, in the pictured Angel, one has full leifure to confider it; but, in the living one, it would be too tranfient and changeable to be the fubject of any fteady observation.

But,

But, though one cannot pun&tually fay what grace is, we may point out the parts and things in which it is most apt to appear.

The chief dwelling-place of grace is about the mouth; though, at times, it may vifit every limb or part of the body. But the mouth is the chief feat of grace, as much as the chief feat for the beauty of the paffions is in the eyes.

In a very graceful face (by which I do not fo much mean a majestic, as a foft and pleafing one,) there is, now and then, a certain deliciousness that almost always lives about the mouth, in fomething not quite enough to be called a fmile, but rather an approach towards one, which varies gently about the different lines there, like a little fluttering Cupid; and, perhaps, fometimes difcovers a little dimple, that after juft lightening upon you disappears, and again appears by fits. This I take to be one of the moft pleafing forts of grace of any.

The grace of attitudes may belong to the pofition of each part, as well as to the carriage or difpofition of the whole body: but how much more it belongs to the head, than to any other part, may be seen in the pieces of the most celebrated painters; and particularly in thofe of Guido, who has been rather too lavish in beftowing this beauty on almoft