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far, as to the Flowing of the Hair; and [ir] Tibuh his, even to the Dress of his Mistress -, but then he assigns it more to her Manner of putting on, and appearing in whatever she wears, than to the Dress itself. It is true, there is another wicked Poet, who has faid (with much less Decency,) <* that Dress is the better [z] Half of the WoV man."

There are Two very distinct (and, as it were, opposite) Sorts of Grace; the Majestic, and the Familiar; I should have called the latter by the Name of Pleasing, had not I been afraid of a Tautology ; for Grace is Pleastngness itself: The former belongs chiefly to the very fine Women; and the latte.r, to the very pretty ones; That is the more commanding, and This the more delightful and engaging. The Grecian Painters and Sculptors used to express the former most strongly in the Looks and Attitudes of their Minerva's; and the latter, in those of Venus.

Xenopbon, in his Choice of HercuUs (or, at least, the excellent Translator of that Piece) has made just the fame Distinction in the Personages of Wisdom and Pleasure; the former of which he describes as moving on to that young Hero, with

\y] Seu solvit crines, fusis decet esse capillis i
Seu coBisit, comtis est veoeranda comis:

Utit, feu Tyria voluit procedere palla;
Urit, seu nivea Candida veste venit:

Talis in Rterno selix Vertvunnus Olympo
illille-habet ornaius, naille deceater habet.

'sibullus, lib iv El a. 14.

[2] ——Pars minima est ipfa puella sui. Ovid.


the majestic Sort of Grace; and the latter, with the familiar.

Graceful, yet each with different Grace they move; ThisJlrikingfacred Awe,that fofter winning Love\a\.

The strongest Examples of each kind that I ever remember to have seen, was Lady S * * *, for the majestic Sort of Grace; Lady /?***, for the familiar; and Mrs. B * *, for each, at different Times; and sometimes for both of them united and blended together.

But not to have you imagine, that I am inclined to confine this Part of Beauty only to Persons of Quality and Distinction; I shall just add, that we meet it, not unfrequently, even on the Stage; and particularly, in that Sort of Dances which are meant to express Characters and Passions; and in which you may easily recollect how much Comargo excelled, for the nobler Sort of Grace; and Foffanine, for the more tender and pathetic.

There is no Poet I have ever read, who seems

to me to understand this Part of Beauty so well as

our own 'Milton. He speaks of these Two Sorts

of Grace very distinctly; and gives the Majestic

[A] to his Adam, and both the Familiar and Majestic

[a] Choice of Hercules, flan, iii.

[b] Two of far nobler Shape, erect and tall, Godlike erect, with native Honour clad,

In naked Majesty, seem'd Lords of all;

And worthy seem'd. For in their Looks divine

The Image of their glorious Maker Ihone:

Truth jestic taEpe; but the latter in a less Degree than the former: In doing which he might either be led by his own excellent Judgment, or possibly might have an Eye to what is faid by [c] Cicero, in speaking on this Subject.

Though Grace is so difficult to be accounted for in general; yet I have obferv'd Two particular Things, which (I think) hold univerfally in relation to it.

Truth, Wisdom, Sanctitude severe and pure;
Severe, but in true filial Freedom plac'd;
Whence true Authority in Men: Though both
Not equal, as their Sex not equal, feem'd.
For Contemplation he, and Valour, form'd;
For Softness the, and sweet attractive Grace.

Mi/tan's Pnrad Loft. B. iv. 298.

I efpy'd thee, fair indeed and tall,

Under a Plantain; yet methought less fair,
Less winning soft, less amiably mild,
Than that smooth watry Image.

(Eve, of Adam and herself ) Ib. ver. 480.

.— Herheav'nly Form

Angelic, but more soft and seminine;
Her grr.csful Innocence; her ev'ry Air

Ot Gesture, or least Action. B. ix. 461.

Grace was in all her Steps: Heav'n in her Eye;
In ev'ry Gesture, Dignity and Love. B. viii. 489.

Speaking, or mute, all Comeliness and Grace
Attends thee j and each Word, each Motion, forms,

Ib. 223.

It is observable, that in each of the Three last Passages, Milton stems to have had those Lines of tibullus in his Thoughts':

111am, quicquid agit, quoquo vestigia vertst, Componit furtim fubsequiturque decor.

[<.] Venullarem, iiiuliebrem ducere debemus; dignitatem, vinlem Cicero de OJJic. lib. i. 130.

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The First is: " That there is no Grace, with"out Motion;" by which I mean, without some genteel or pleasing Motion, either of the whole Body, or of some Limb, or at least, of some Feature. And it may be hence, that Lord Bacon (and, perhaps, Horace,) [d] call Grace, by the Name of decent Motion; just as if they were equivalent Terms.

Virgil in one Place points out the Majesty of funo, and in another the graceful Air osApollo [e],by only faying, that they move; and possibly he means no more, when he makes the Motion of Venus [/] the principal thing, by which 'Æneas discovers her under all her Disguise; though the-Commentators, as usual, would fain find out a more dark and mysterious Meaning for it.

All the best Statues are represented as in some Action, or Motion; and the most graceful Statue in the World (the Apollo Belvedere) is so much sov

[d\ In Beauty, that of Favour is more than that of Colour; and that of gracious and decent Motion, more than that of Favour. Lord Bacon's Works, vol iii. p.

36a- J . - I

Quo fugit Venus, heu! quove color? Decens

Quo motus? (For so, I think, this Passage should

be read; because the Epithet of graceful, cannot belong

to Colour) —. Horace, lib. iv. Od. 13. 18.

[e] Astego, quæ divum incedo regina Æn. i. 46.

Jpsejugis Cynlhi graditur. Æn. iv. 147.

[ s ] Dixit; & avertens rosea cervice refulsit;
Ambrosiæque comæ divinum vertice odorem
Spiravere: pedes vestis defluxit ad imos j
Et vera incessu patuit Dea. llle ubi matre.n
Agnovit, &c. Æn. i. 406.

that that when one faces it at a Jittle Distance, one is almost apt to imagine, that he is actually going to move on toward you.

All graceful Heads, even in the Portraits of the best Painters, are in Motion; and very strongly in those of Guide in particular; which, as you may remember, are all either casting their Looks up toward Heaven, or down toward the. Ground, or side-way, as regarding some Object. A Head that is quite unactive, and stung flat upon the Canvas (like the Faces on Medals after the Fall of the Reman Empire, or the Gothic Heads before the Revival of the Arts) will be so far from having any Grace, that it will not even have any Life in it.

The Second Observation is: " That there can «, be no Grace, with Improprietyor, in other Words, that nothing can be graceful, that is not adaptod to the Characters of the Person.

The Graces of a little lively Beauty would become ungraceful in a Character of Majesty; a* the maiestic Airs of an Empress would quite destroy the Prettiness of the former. The Vivacity that adds a Grace to Beauty in Youth, would give an additional Deformity to old Age; and the very fame. Airs, which would be charming on some Occasions, may be quite shocking when extremely mis-timed, or extremely misplaced.

This inseparable Union of Propriety and Grace seems to have been the general Sense of Mankind;


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