though there are some that do not affect the muscles at all simply of themselves, as love and hope.

But lest I should be thought to lay too great a stress on outward shew, like a physiognomist, take P. 127 this with you, that it is acknowledged there are so many different causes which produce the same kind of movements and appearances of the features, and so many thwartings by accidental shapes in the make of faces, that the old adage, fronti nulla fides, will ever stand its ground upon the whole; and for very wise reasons nature hath thought fit it should. But, on the other hand, as in many particular cases, we receive information from the expressions of the countenance, what follows is meant to give a lineal description of the language written therein.

It may not be amiss just to look over the passions of the mind, from tranquillity to extreme despair; as they are in order described in the common drawingbook, called, Le Brun's passions of the mind; selected from that great master's works for the use of learners; where you may have a compendious view of all the common expressions at once. And although these are but imperfect copies, they will answer our purpose in this place better than any other thing I can refer you to; because the passions are there ranged in succession, and distinctly marked with lines only, the shadows being omitted.

Some features are formed so as to make this or that expression of a passion more or less legible; for example, the little narrow chinese eye suits a loving or laughing expression best, as a large full eye doth

those of fierceness and astonishment; and round-rising muscles will appear with some degree of chearfulness even in sorrow: the features thus suiting with the expressions that have been often repeated in the face, P. 128 at length mark it with such lines as sufficiently distinguish the character of the mind.

The ancients in their lowest characters have shewn as much judgment, and as great a degree of taste in the management and twisting of the lines of them, as in their statues of a sublimer kind; in the former varying only from the precise line of grace in some parts where the character or action required it. The dying gladiator and the dancing fawn, the former a slave, the latter a wild clown, are sculptored in as high a taste of lines as the Antinous or the Apollo; with this difference, that the precise line of grace abounds more in the two last: notwithstanding which it is generally allowed there is equal merit in the former, as there is near as much judgment required for the execution of them. Human nature can hardly be represented more debased than in the character of the Silenus, fig. where the bulging-line figure 49, No. 7, runs through all the features of the face, as well as the other parts of his swinish body: whereas in the satyr of the wood, though the ancients have joined the brute with the man, we still see preserved an elegant display of serpentine lines, that make it a graceful figure.

Indeed the works of art have need of the whole advantage of this line to make up for its other deficiencies: for though in nature's works the line of beauty

*Fig. 107. p. 1.

is often neglected, or mixed with plain lines, yet so far are they from being defective on this account, that by P. 129 this means there is exhibited that infinite variety of human forms which always distinguishes the hand of nature from the limited and insufficient one of art; and as thus she for the sake of variety upon the whole, deviates sometimes into plain and inelegant lines, if the poor artist is but able now and then to correct and give a better taste to some particular part of what he imitates, by having learnt so to do from her more perfect works, or copying from those that have, ten to one he grows vain upon it, and fancies himself a naturemender; not considering that even in these, the meanest of her works, she is never wholly destitute of such lines of beauty and other delicacies, as are not only beyond his narrow reach, but are seen wanting even in the most celebrated attempts to rival her. But to return,

As to what we call plain lines, there is this remarkable effect constantly produced by them, that being more or less conspicuous in any kind of character or expression of the face, they bring along with them certain degrees of a foolish or ridiculous aspect.

It is the inelegance of these lines which more properly belonging to inanimate bodies, and being seen where lines of more beauty and taste are expected, that renders the face silly and ridiculous. See chap. 6, p. 31.

Children in infancy have movements in the muscles of their faces peculiar to their age, as an uninformed and unmeaning stare, an open mouth, and simple grin: all which expressions are chiefly formed

of plain curves, and these movements and expressions P. 130 ideots are apt to retain; so that in time they mark their faces with these uncouth lines; and when the lines coincide and agree with the natural forms of the features, it becomes a more apparent and confirmed character of an ideot. These plain shapes last mentioned, sometimes happen to people of the best sense, to some when the features are at rest, to others when they are put into motion; which a variety of constant regular movements proceeding from a good understanding, and fashioned by a genteel education, will often by degrees correct into lines of more elegance.

That particular expression likewise of the face, or movement of a feature which becomes one person, shall be disagreeable in another, just as such expressions or turns chance to fall in with lines of beauty, or the reverse; for this reason there are pretty frowns and disagreeable smiles: the lines that form a pleasing smile about the corners of the mouth have gentle windings, as fig. *, but lose their beauty in the full laugh, as fig. †, the expression of excessive laughter, oftener than any other, gives a sensible face a silly or disagreeable look, as it is apt to form regular plain lines about the mouth, like a parenthesis, which sometimes appears like crying; as on the contrary, I remember to have seen a beggar who had clouted up his head very artfully, and whose visage was thin and pale enough to excite pity, but his features were otherwise so unfortunately formed for his purpose, that P.131

P. 132

what he intended for a grin of pain and misery, was rather a joyous laugh.

It is strange that nature hath afforded us so many lines and shapes to indicate the deficiencies and blemishes of the mind, whilst there are none at all that point out the perfections of it beyond the appearance of common sense and placidity. Deportment, words, and actions, must speak the good, the wise, the witty, the humane,the generous, the merciful, and the brave. Nor are gravity and solemn looks always signs of wisdom: the mind much occupied with trifles will occasion as grave and sagacious an aspect, as if it was charged with matters of the utmost moment; the balance-master's attention to a single point, in order to preserve his balance, may look as wise at that time as the greatest philosopher in the depth of his studies. All that the ancient sculptors could do, notwithstanding their enthusiastic endeavours to raise the characters of their deities to aspects of sagacity above human, was to give them features of beauty. Their god of wisdom hath no more in his look than a handsome manliness; the Jupiter is carried somewhat higher, by giving it a little more severity than the Apollo, by a larger prominency of brow gently bending in seeming thoughtfulness, with an ample beard, which being added to the noble quantity of its other lines, invests that capital piece of sculpture with uncommon dignity, which in the mysterious language of a profound connoisseur, is stiled a divine idea, inconceivably great, and above nature.

3dly and lastly, I shall shew in what manner the