ing, is less sublime than the first species of motion. The course of a torrent, when in a straight line, is more sublime than when it winds into curves, and much more sublime than when it is broken into angles. The impetuous shooting of the eagle would lose much of its sublimity, if it were to deviate from the straight line, and would be simply painful, if it were to degenerate into an angular line.

2. Slow motion in a straight line, is simply expressive of gentle and delicate power. It is accordingly beautiful. Slow motion in angular lines, is expressive of gentle power, and of imperfection or obstruction. These expressions, however, do not well accord, and mutually destroy each other. Motion of this kind, is, accordingly, very seldom beautiful. Slow motion in curves is expressive of gentle power, united with ease, freedom, and playfulnes. It is accordingly peculiarly beautiful. The soft gliding of a stream, the light traces of a summer breeze upon a field of corn, are beautiful when in a straight line; they are much more beautiful when they describe serpentine or winding lines: but they are scarcely beautiful, when their direction is in sharp angles, and sudden deviations.

The most sublime motion, is that of rapid motion in a straight line. The most beautiful, is that of slow motion in a line of curves. I humbly apprehend, that these conclusions are not very distant from common experience upon this subject.

II.

Besides these, however, which may be called the permanent expressions of motion, there are others which arise from the nature of the bodies moved, and which have a very obvious effect in giving beauty or sublimity to the peculiar motions by which they are distinguished.

Instances of this kind are so familiar, that it will be nec essary only to point out a few.

Slow motion is, in general, simply beautiful. Where, however, the body is of great magnitude, slow motion is sublime. The slow motion of a first rate man of war; the slow ascent of a great balloon; the slow march of an embattled army, are all sublime motions, and no person can observe

The cloud stupendous, from th' Atlantic wave,
High tow'ring sail along the horizon blue,

without an emotion of this kind.

Rapid motion is in general sublime, yet where the bodies excite only pleasing or moderate affections, mo. tion of this kind becomes beautiful. The rapid shooting of the Aurora Borealis, the quick ascent of fire-works, a sudden stream of light from a small luminous object in the dark, are familiar instances of this kind. The motion of the humming-bird is more rapid perhaps than that of the eagle, yet the motion of the humming-bird is only beautiful.

Motion in angular lines is, in general, productive of an emotion of discontent, rather than of any emotion either of sublimity or beauty. Yet the motion of lightning, which is commonly of this kind, is strikingly sub. lime. The same appearance in electrical experiments is beautiful.

Slow motion in waving lines, is in general the most beautiful of all. But the motion of snakes or of serpents, is of all others the most disagreeable and painful.

In these instances, and many others that might be mentioned, it is obvious, that the sublimity or beauty of the motion arises from the expression or character of the bodies moved, and that in such cases, the expression of

the body predominates over the general expression which we associate with the motion by which it is distinguished.

From the facts I have mentioned, we may conclude: 1st, That the beauty and sublimity of motion, arises from the associations we connect either with the motion itself, or with the bodies moved. And,

2dly, That this sublimity or beauty, in any particular case, will be most perfect, when the expression of the motion, and that of the body moved, coincide.

CHAPTER VI.

Of the Beauty of the Human Countenance and Form.

SECTION I.

INTRODUCTORY.

THE preceding inquiries relate only to the beauty and sublimity of inanimate matter. I proceed to consider the origin of the beauty or sublimity which we perceive in the countenance and form of MAN; the being, amid all the innumerable classes of material existence, who, in this respect enjoys the most undoubted pre-eminence; and to whom the liberality of nature has been most conspicuous, in accommodating the majesty and beauty of his external frame to the supreme rank which she has assigned him among her works.

The full investigation of the principles of human beauty, and the application of them to the arts of painting and of statuary, would furnish one of the most pleas ing speculations which the science of taste can afford. I am necessarily restrained to a more humble inquiry

and must confine myself to the examination of a single question: Whether the beauty of the human species is to be ascribed to any law of our nature, by which certain appearances in the countenance and form are originally, and independently, beautiful or sublime? or whether, as in the case of inanimate matter, it is to be ascribed to the various pleasing or interesting expressions we connect with such appearances?

In entering upon this investigation, it is impossible not to observe, that if the human frame is, of all material objects, that in which the greatest degree of beauty is found, it is also the object with which we have the most numerous, and the most interesting associations. The greatest beauty of inanimate matter arises from some resemblances we discover between particular qualities of it, and certain qualities or dispositions of mind: But the effect which such resemblances or analogies can produce, is feeble, in comparison of that which is produced by the immediate expression of such qualities or dispositions in the human frame. Such resemblances also are few, as well as distant; but to the expressions of the human frame there are no other limits than those that are imposed to the intellectual or moral powers of man.

That a great part of the beauty of the human countenance and form arises from such expressions, is, accordingly, very generally acknowledged. It is not, however, supposed, that the whole beauty of the countenance and form is to be ascribed to this cause; and the term expression is very generally used to distinguish that species of beauty which arises from the direct expression of mind, from that which is supposed to consist in certain visible appearances in the countenance and form. I shall endeavour now to shew, that the same principle of expression is also the foundation of all the beauty or sub

limity that is supposed to consist in certain visible appearances in the countenance and form; and that the whole beauty or sublimity which is to be found in the external frame of man, is to be ascribed to the various pleasing or interesting qualities, which are either directly or indirectly expressed to us by such appearances.

...All that is beautiful or sublime in the human frame, may perhaps be included in the following enumeration : 1. In the countenance.

2. In the form.

3. In attitude.

4. In gesture.

For the sake of perspicuity, I am under the necessity of considering these subjects separately.

SECTION II.

Of the Human Countenance.

THE beauty or sublimity of the human countenance arises from three sources. 1st, From its colours: 2dly, From the forms of the features: and 3dly, From the composition of these colours and features.

PART I.

Of the Colours of the Countenance.

THERE are two distinct species of colour in the human countenance which produce the emotion of beauty or sublimity. 1st, The permanent, and 2dly, the variable colours of the countenance. The first are the general and characteristic colours of the countenance, the peculiarity of its complexion, the colour of the eyes, the lips, the hair, the beard, &c. The second are those colours which are produced by particular or temporary affections