the Expressions they signify to us, is a Truth which may be easily observed in the study even of the same Countenance Nothing can be more different in point of form, than what occurs in the same face, in the muscles of the eyebrow, in the close or open conformation of the eyelids, in the contraction or dilatation of the nostrils, in the elevation or depression of the lips, in the smoothness or swelling of the muscles of the throat and neck: yet all of these are beautiful, or at least susceptible of Beauty. It may have been our fortune to see all these variations of form to have taken place in the same Countenance, within the space of a few hours. And if we recollect our sentiments, we shall find, that all of them were not only beautiful, when they were the genuine Signs of Emotions with which we sympathized, but what is more, that they were the only forms which, in such circumstances, could have been beautiful: That their variety corresponded

to the variety of Emotions which the mind experienced; and that any other conformations of Feature, however beautiful in other circumstances, would then have been painful or distressing. If any of my Readers have not felt this in their own experi ence, let them attend (while it is yet in their power) to the Countenance of Mrs Siddons, in the progress of any of her great parts of Tragedy. Let them observe how the Forms and Proportions of every Feature vary with the Passions which they so faithfully express; let them mark every variety of Form almost, of which the Human Countenance is capable, take place in the space of a few short hours; let them then ask themselves what is the common source of this infinite Beauty; and although, in this Examination, they will still have but a feeble sense of the excellencies of this illustrious Actress, they will be sensible, that there is no original or prescribed Form of Feature which alone is beautiful, but that every

Conformation is beautiful when it is

expres

sive of the Emotions we expect and approve.

PART III.

Of the Composition of the Colours and Features in the Human Countenance.

The illustrations which I have given in the two former Sections, relate to the Beauty of the Colours or features of the Countenance, as single or individual objects of Observation. It is very obvious, however, that all these are only parts of a whole: that some relation, at least, exists between those parts of the Countenance, and the Countenance itself: and that there is some harmony or accordance which we expect and demand in the Composition of these ingredients, before we feel that the whole is beautiful. The investigation of the principles which govern us in our sentiments of Composition will, I trust, afford an addi

tional proof of the real Nature and origin of Human Beauty.

If there were any original and independent Beauty in any peculiar colours or forms, it would then necessarily follow, that the union of these beautiful forms and colours would compose a Countenance of Beauty, and that every deviation in Composition from these original principles of Beauty would, in proportion to this deviation, affect us with sentiments either of indifference or disgust. If such were the constitution of our nature, the Painter and the Sculptor would possess a simple and determinate rule for the creation of Beauty; the beautiful forms and colours of the Human Countenance would be as definite as the proportions of Architecture: and the production of Beauty might be as certainly attained by the Artist, as arithmetical Truth is by the Arithmetician. That this is not the case; that the Beauty of the Human Countenance is not governed

by such definite rules; and that there are some other qualities necessary for the Painter and the Sculptor, than the mere observation of physical appearances, are truths with which every one is acquainted, and which therefore it would be unnecessary to attempt to illustrate.

If, on the other hand, the principles which I have before attempted to illustrate are just, if the Beauty of every individual colour or form in the Countenance, is determined by its Expression to us of some pleasing or interesting quality, then it ought to follow, (as in all other cases of Composition), That the expression of the whole ought to regulate the Beauty of the parts; that the actual Beauty of these parts or ingredients, ought to depend upon their relation to the general Character; and that the Composition therefore should only be beautiful, when this relation of Expression was justly preserved, and when no colour or feature was admitted, but what