much farther than dressing both arms alike, and having the shoes of the same colour. For when any part of dress has not the excuse of fitness or propriety for its uniformity of parts, the ladies always call it formal.

For which reason, when they are at liberty to make what shapes they please in ornamenting their persons, those of the best taste chuse the irregular as the more engaging; for example, no two patches are ever chosen of the same size, or placed at the same height; nor a single one in the middle of a feature, unless it be to hide a blemish. So a single feather, flower, or jewel is generally placed on one side of the head; or if ever put in front, it is turned awry to avoid formality.

It was once the fashion to have two curls of equal size, stuck at the same height close upon the foreP. 35 head, which probably took its rise from seeing the pretty effect of curls falling loosely over the face.

A lock of hair falling thus cross the temples, and by that means breaking the regularity of the oval, has an effect too alluring to be strictly decent, as is very well known to the loose and lowest class of women: but being paired in so stiff a manner, as they formerly were, they lost the desired effect, and ill deserved the name of favourites.

III. Variety in dress, both as to colour and form, is the constant study of the young and gay-But then,

IV. That taudriness may not destroy the proper effect of variety, simplicity is called in to restrain its superfluities, and is often very artfully made use of

to set native beauty off to more advantage. I have not known any set of people that have more excelled in this principle of simplicity, or plainness, than the Quakers.

V. Quantity, or fulness in dress has ever been a darling principle; so that sometimes those parts of dress, which would properly admit of being extended to a great degree, have been carried into such strange excesses, that in the reign of Queen Elizabeth a law was made to put a stop to the growth of ruffs: nor is the enormous size of the hoops at present, a less sufficient proof of the extraordinary love of quantity P. 36 in dress, beyond that of convenience or elegance.

VI. The beauty of intricacy lies in contriving winding shapes, such as the antique lappets belonging to the head of the sphinx *, or as the modern lappet when it is brought before. Every part of dress, that will admit of the application of this principle, has an air (as it is termed) given to it thereby; and although it requires dexterity and a taste to execute these windings well, we find them daily practised with

success.

This principle also recommends modesty in dress, to keep up our expectations, and not suffer them to be too soon gratified. Therefore the body and limbs. should all be covered, and little more than certain hints be given of them through the cloathing.

The face indeed will bear a constant view, yet always entertain and keep our curiosity awake, without the assistance either of a mask, or veil; because

Fig. 21. p. 1.

vast variety of changing circumstances keeps the eye and the mind in constant play, in following the numberless turns of expression it is capable of. How soon does a face that wants expression grow insipid, though it be ever so pretty?-The rest of the body, not having these advantages in common with the face, would soon satiate the eye, were it to be as constantly exposed, nor would it have more effect than a marble statue. But when it is artfully cloathed and decoP. 37 rated, the mind at every turn resumes its imaginary pursuits concerning it. Thus, if I may be allowed a simile, the angler chooses not to see the fish he angles for, until it is fairly caught.

IT

CHAPTER VII.

OF LINES.

Ir may be remembered that in the introduction, the reader is desired to consider the surfaces of objects as so many shells of lines, closely connected together, which idea of them it will now be proper to call to mind, for the better comprehending not only this, but all the following chapters on composition.

The constant use made of lines by mathematicians, as well as painters, in describing things upon paper, hath established a conception of them, as if actually existing on the real forms themselves. This likewise we suppose, and shall set out with saying in general -That the straight line, and the circular line, together with their different combinations, and variations, &c. bound and circumscribe all visible objects whatsoever, thereby producing such endless variety of forms, as lays us under the necessity of dividing, and distinguishing them into general classes; leaving the intervening mixtures of appearances to the reader's own farther observation.

*

First, objects composed of straight lines only, as the cube, or of circular lines, as the sphere, or of both together, as cylinders and cones, &c.

Secondly, † those composed of straight lines, cir- P. 38

cular lines, and of lines partly straight, and partly circular, as the capitals of columns, and vases, &c.

Thirdly, those composed of all the former together with an addition of the waving line, which is a line more productive of beauty than any of the former, as in flowers, and other forms of the ornamental kind: for which reason we shall call it the line of beauty.

Fourthly, † those composed of all the former together with the serpentine line, as the human form, which line hath the power of superadding grace to beauty. Note, forms of most grace have least of the straight line in them.

It is to be observed, that straight lines vary only in length, and therefore are least ornamental.

That curved lines as they can be varied in their degrees of curvature as well as in their lengths, begin on that account to be ornamental.

That straight and curved lines joined, being a compound line, vary more than curves alone, and so become somewhat more ornamental.

That the waving line, or line of beauty, varying still more, being composed of two curves contrasted, becomes still more ornamental and pleasing, insomuch that the hand takes a lively movement in making it with pen or pencil.

And that the serpentine line, by its waving and winding at the same time different ways, leads the eye in a pleasing manner along the continuity of its P. 39 variety, if I may be allowed the expression; and which by its twisting so many different ways, may be