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brows, and of the hair, when it falls in a proper manner round the face.

" It is for much the same reason, that the best landschapepainters have been generally observed to chuse the autumnal part of the year for their pieces, rather than the spring, They prefer the variety of shades and colours, though in their decline, to all their freshnels and verdure in their infancy; and think all the charms and liveliness, even of the spring, more than compensated by the choice, oppofition, and richness of colours, that appear almost on every tree in the autumn.'

In our author's opinion, a compleat brown beauty is preferable to a perfect fair one; because the bright brown, he tells us, gives a lustre to all the other colours, a vivacity to the eyes, and a richness to the whole look, which one seeks in vain in the whicest and most transparent skins. Accordingly he observes, that Raphael's most charming Madonna is a brunette beauty, and that all the best artists in the noblest age of painting, about Leo the tenth's time, used this deeper and richer kind of colouring,

With respect to form, he observes, that it takes in the turn of each part, as well as the symmetry of the whole body, even to the turn of the eye-brow, or the falling of the hair : he likewise thinks that the attitude, while fixed, ought to be reckoned under this article ; meaning not only the pofture of the person, but the position of each part, as the turning of the neck, the extending of the hand, the placing of a foot, and fo on, to the most minute particulars, He tells us, that the general cause of beauty, in the form or flrape of both fixes, is a proportion, or an union and harmony, in all parts of the body; that the diftinguishing character of beauty in the female form is delicacy and foftness, and in the mal, either apparent strength or agility; and that the finest exemplars that can be seen for the former, is the Venus of Medici, and for the two latter, the Hercules Farnese, and the Apello Belvedere,

He now proceeds to expreffion, by which he means the expreffion of the paffions, the turns and changes of the mind, so far as they are made visible to the eye, by our looks or gestures. Under this head he observes, that all the tender and kind p: flions, in general, add to beauty, and that all the cruel and unkind ones add to deformity.

The finest union of passions,' says be, that I have ever obferv'd in any face, confifted of a just mixture of modesty, fenfibility, and sweetness; each of which, when taken

singly,

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singly, is very pleasing ; but when they are all blended together, in such a manner as eicher to enliven or correct each other, they give almost as much attraction, as the passions are capable of adding to a very pretty face.

. The prevailing passion in the Venus of Medici is modefty: it is express'd 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 Gde faces please one more than full ones, may not be from the former having more of the air of modesty than the latter. However that be, this is certain, that the best artists usually chuse to give a fide face rather than a full one; in which attitude, the turn of the neck too has more beauty, and the passions more activity and force. Thus, as to hatred and affection in particular, the look that was formerly fuppofe to carry an infe&tion with it, from malignant eyes, was a slanting regard ; like that which Milton gives to Satan, when he is viewing the happiness of our first parents in paradise, and the fascia nation or stroke of love, is, most usually, I believe, convey'd at first, in a fide-glance.

• It is owing to the great force of pleasingness which attends all the kinder passions, that lovers do not only seem, but are really more beautiful to each other, than they are to the rest of the world; because, when they are together, the most pleasing passions are more frequently exerted in cach of their faces, than they are in either before the rest of the world. There is then (as a certain French writer very well expresses it) a soul upon their countenances, which does not appear when they are absent from each cther; or even when they are together, converfing with other persons, that are indifferent to thein, or rather lay a restraint upon their features.'

He further observes under this head, that the chief rule of the beauty of the passions, is moderation; for too fullen an appearance of virtue,' says he', 'a violent and profitute swell of paffion, a rustic and overwhelming modesty, a deep sadness, or too wild and impetuous a joy, become all either oppreflive or disagreeable.'

He now proceeds to consider grace, the ncbift part of beauty; and this, he rells u., is in a great measure inexplicable, as it is perpetually varying its appearances, and the efore much more difficult to be confidered, than any thing fixt and steady. Though grace may, at times, vifit every limb or part of the body, yet he observes, that the mouth is the chief seat of it; as much as the chief seat for the

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beauty beauty of the passions is in the eyes. In a very graceful face,' says he, by which I do not so much mean a majestic, as a foft and pleasing one, there is now-and-then (for no part of beauty is either so engaging, or so uncommon) a certain deliciousness that almost always lives about the mouth, in something not quite enough to be called a smile, but rather an approach towards one; which varies gently about the different lines there, like a little Auttering Cupid; and per baps fometimes discovers a little dimple, that after juit lightening upon you disappears, and appears again by fits. This I take to be one of the most pleasing sorts of grace of any ; ' but you will understand what I mean by your own memory, better than by any expreffions I could pcdibly use to describe it.'

Though grace is so difficult to be accounted for in general, yet he observes that there are two particular things which hold universally in rela ion to it; the firft is, that there is no grace without some genteel or pleasing motion, either of the whole body or of some limb, or at least of some feature; the second is, that nothing can be graceful, that is not adapted to the characters of the perfon. · The graces of a little lively beauty,' says he wou'd become ungraceful in a character of majesty; as the mojestic 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 same airs, which would be charming on some occasions, may be quite fhocking when extremely mis tim'd, or extremely misplac'd.'

In the farther confideration of his subject, our ingenious author has many curious observations; and towards the close of bis performance, after taking a short survey of that variety of beauty which is to be found in the works of nature, he leads the thoughts of his readers through the arcending scale of beauty, to the contemplation of virtue, the most beautiful object in the universe, and to that of the goodness of God, the inexhaustible fountain of all that sich profusion of beauty, which is diffused through the boundless expanse of universal nature.

After the short view we have given of this work, few of our readers, we apprehend, will be at a loss to know who the real author is, since they cannot but perceive that Sir Harry Beaumont is a fictitious name.

R MONTHLY

MONTHLY

CAT ALOGUE,

For March 1752.

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MISCELLANEOUS.
HE female Parricide: or the history of Mary-Mar-

garet d'Aubrey, marchioness of Prinvillier, who was beheaded and burnt at Paris, for poisoning her father, her two brothers, and attempting to kill her sister in the same manner. Translated from the French, with a preface by the translator, in which a parallel is drawn between the marchioness and miss Blandy. 8vo. Is. Newbery.

The story of the marchioness d'Brinvillier hath been so generally known, for near a century patt; that 'tis unnecefsary for us to repeat any particulars of it.

II. A second letter to the right hen, the earl of ****** concerning the qualifications and duty of a surveyor. 8vo. 6d. Owen. See the first letter, Review for January lait, page 76. ART. II.

III. The history of the Swedish enuntess of G-
By C. F. Gellert, M. A. professor at the university of Lip-
fic. Translated from the original German. 12mo. 35.
Dodsley, &c.

The ingenious author of Pompey the little, characterizes our age, and its present prevailing talte fur books of amusement, by the epithet of a Life-writing age ; an epithet the propriety of which sufficiently appears, from the vast number of productions of this kind, published within these ten years paft. But, at length, all the variety of which this species of literary entertainment is capable, seems almost exhaufted, and even novels themselves no longer charm us with novelty. Tired and surfeited with romantic heroism, and extravagant virtue ; examples of a different kind have of late been introduced to us ; • and * no character has been thought too inccnsiderable to engage the public notice, or too abandoned to be set up as patterns of imitation. The lowest and most contemptible vagrants, chamber- maids, superannuated ftrumpets, pick-pockets and highwaymen, have found historians to record their praises, and readers to wonder at their exploits : even prisons and stews have been ransacked to find materials for novels and romances.'- But

* Vide preface to the adventures of a Lap-dog, zd Edit.

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if the wits of France and Great Britain have thus exhauft-
ed their stores, the case is very different with respect to our
ober neighbours the Germans and Dutch. The literary pro-
ductions of these countries have hitherto been of a more
folid kind, and of a graver stamp. · The amusements, how-
ever, and the manners of the French, (together with their
languare) begin to gain footing in every nation in Europe ;
and among other instances of this, Germany hath produced
a novel, the first work of the kind from this country, which
hath had vivacity enough to recommend it to nations less
flegmatic, and less confined to the weightier ftudics of school-
divinity, phyfic, chemistry, &C.--The story of the Swe-
dish countess has nothing in it very romantic, extravagant,
or unnatural; yet her adventures are sufficiently thiking,
and wel! adapted to engage the reader's attention. It abounds
with affecting scenes, and interesting situations ; with good
sentiments and exemplary lessons of true morality; and tho'
we have not seen the original, we are persuaded it will afford
a rational entertainment to those who understand the lan-
guage. As to the present translation, it seems to come from
Tome foreigner, whose ignorance of the English idiom ought
to have prevented his undertaking a task he was but ill qua-
lified for. Under the dress he has eloathed it in, Mr. Gel-
lert's performance undoubtedly appears to so much d ladvan-
tage, that we fear it will find few readers who will have the
patience to read it through, as we have done. To the gene-
rality, particularly those who do not make due allowance
for the peculiar manners and notions of the country from
whence we have this work, it will seem a tedious, heavy,
low performance; whilft better judges will, we are per
suaded, allow that it contains more real meric than half
the productions (f our own adienture-makers.

IV. Remarks on the sentence given in favour of E--
W M-, and Th-I--, Esqrs; by the
lieutenant criminal at Poris

. 8vo. 6. Johnson. See our las?, p 146, ART. VI.

V. A particular description of a certain lady at present concealed. Her person, dress, temper, &c. allo a night sketch of her niece. 8vo. td. Cooper.

This is a new improvement of thai mult exquilite species of modern humour, diftinguished by the name of conundrum ; for which we want words to express our admiration.

VI. The old lady and her niece detected, &c. 8vo. 6d Cooper.

The

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