are extremely varied, according to the different Sentiments and Paffions of the Mind.

I have fometimes obferved a Degree of Difpleafure in a Lady's Eyebrow, when she had Address enough not to let it appear in her Eyes; and at other Times have difcovered fo much of her Thoughts, in the Line just above her Eyebrows;. that she has been amazed how any Body could tell what passed in her Mind, and as she thought undiscovered by her Face, fo particularly and diftinctly.

Homer makes the Eyebrows the Seat of [1] Majefty, Virgil of [k] Dejection, Horace of [!] Modefty, and Juvenal of [m] Pride; and I question

whether

[1] Η, καὶ κυανέησιν επ' οφρύσι νεύσε Κρονίων Αμβροσίας δ' αρα χαίται επερρώσαντο ανακλθε Κραία απ' αθανατοιος μέγαν δ' ελελιξεν Ολυμπον. IX. a 5281

It was from this Paffage that Phidias borrowed all the Ideas of that Majefty which he had expreffed fo strongly in his famous Statue of the Jupiter Olympius ; and Horace, probably, his -Cuneta fupercilio mo

ventis.

Lib. iii. Od. 1. 8.

[k] Frons læta parum, & dejecto lumina vultu. Virgil. En. vi. 863. [7] Deme fupercilio nubem; plerumque modeftus Occupat obfcuri fpeciem. Horat. lib. i. Epift. [18. 95. [] Malo Venufinam, quàm te, Cornelia, mater Gracchorum; fi cum magnis virtutibus affers Grande fupercilium, et numeras in dote triumphos. Juvenal Sat. vi 168, It is hence that the Romans used the Word fupercilifus (as we do from the Word fupercilious) for proud and arrogant Perfons.

ther every one of the Paffions is not affigned, by one or other of the Poets, to the fame Part.

If you would rather have Authorities from the Writers of honest Profe, Le Brun (who published a very pretty Treatife, to fhew how the Paffions affect the Face and Features) says, that the principal Seat of them is in the Eyebrows, and old Pliny had faid [n] much the fame Thing, fo many Hundred Years before him.

Hitherto I have fpoken only of the Paffions in general: We will now confider a little, if you please, which of them add to Beauty; and which of them take from it.

I believe 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 "fineft Face."

Mr. Pope has included the principal Paflions of each Sort, in Two very pretty Lines:

Love, Hope, and Joy, fair Pleafure's Smiling Train; Hate, Fear, and Grief, the Family of Pain.

The former of which, naturally give an additi-onal Luftre and Enlivening to Beauty; as the lat

[n] Frons triftitiæ, hilaritatis, clementiæ, feveritatis index: in afcenfu ejus fupercilia, & pariter, & alternè inobilia, & in iis, pars animi. [His] negamus; annuimus. Hæc maximè indicant faitum. Superbia alicubi conceptaculum, fed hic fedem habet: in corde nafcitur; hic fubit, hic pendet.. Plin. Nat. Hift. lib. xi,

Leap. 37.

ter

ter 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; almost 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, Shame, Surprize, Fear, and Concern, are beautiful; but all Excefs is hurtful, and all Excess ugly.

Dulness, Aufterity, Impudence, Pride, Affectation, Malice, and Envy, are, I believe, always ugly.

The finest Union of Paffions, that I have ever obferved in any Face, confifted of a juft Mixture of Modefty, Senfibility, and Sweetnefs; each of which, when taken fingly, is very pleasing; but when they are all blended together, in fuch a Manner as either to enliven or correct each other, they give almost as much Attraction, as the Paffions are capable of adding to a very pretty Face.

The prevailing Paffion in the Venus of Medici is Modefty: It is expreft by each of her Hands, in her Looks, and in the Turn of her Head. And by the way, I question whether one of the chief Reasons, why Side-faces please one more than Full ones, may not be from the former having more of the Air of Modefty than the latter, However that be, this is certain, that the best

Artifts

Artists usually chufe to give a Side-face, rather than a Full one; in which Attitude, the Turn of the Neck too has more Beauty, and the Paffions more Activity and Force. Thus, as to Hatred and Affection in particular, the Look that was formerly supposed to carry an Infection with it from malignant Eyes, was a flanting Regard; like that which Milton gives to Satan [o], when he is viewing the Happiness of our first Parents in Paradife; and the Fascination, or Stroke of Love, is most usually, I believe, conveyed, at first, in a Sideglance.

It is owing to the great Force of Pleafingness, which attends all the kinder Paffions; "That Lovers do not only feem, but are really more beautiful to each other, than they are to the reft of the World," becaufe, when they are together, the most pleasing Paffions are more frequently exerted in each of their Faces, than they are in either before the reft of the World. There is then (as a certain French Writer very well expreffes it) "A Soul upon their Countenances,' which does not appear when they are abfent from each other; or even when they are together, converfing with other Perfons, that are indifferent to them, or rather lay a Reftraint upon their Fea

tures.

I dare fay you begin to fee the Preference, that the Beauty of the Paffions has over the Two Parts

[0]

Afide the Devil turn'd

For envy; yet, with jealous Leer maliga,

Ey'd the makance Paradife Loft, Book iv. 504;

at

of Beauty first mentioned; and if any one was not thoroughly convinced of it, I should beg him to confider a little the following Particulars; of which every Body must have met with several Inftances, in their Life-time.

That there is a great deal of Difference in the fame Face, according as the Person is in a better or worse Humour, or in a greater or less Degree of Livelinefs.

That the best Complexion, the finest Features, and the exacteft Shape, without any Thing of the Mind expreffed on the Face, is as infipid and unmoving, as the waxen Figure of the fine Dutchefs of Richmond in Westminster-Abbey.

That a Face without any good Feature in it, and with a very indifferent Complexion, shall have a very taking Air; from the Senfibility of the Eyes, the general good-humoured Turn of the Look, and perhaps a little agreeable Smile about the Mouth. And thefe Three Things, I believe, would go a great way toward accounting for the Je ne fçai quoi, or that inexplicable Pleafingness of the Face (as they choose to call it,) and fo little under

which is so often talked of,

ftood; as the greater Part, and perhaps all the rest of it, would fall under the last Article, that of Grace.

I once knew a very fine Woman, who was admired by every Body that faw her, and scarce loved by any Body. This Ineffectualness of all her Beauties was occafioned by a Want of the pleafing Paffions in her Face, and an Appearance of the difpleafing ones; particularly, thofe of Pride

and