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tion of the work itself, produce approbation, the acquiefcence of the understanding, but not love, nor any paffion of that species. When we examine the structure of a watch, when we come to know thoroughly the use of every part of it, fatisfied as we are with the fitness of the whole, we are far enough from perceiving any thing like beauty in the watch-work itself; but let us look on the cafe, the labour of fome curious artist in engraving, with little or no idea of use, we shall have a much livelier idea of beauty than we ever could have had from the watch itself, though the master-piece of Graham. In beauty, as I faid, the effect is previous to any knowledge of the use; but to judge of proportion, we must know the end for which any work is designed. According to the end, the proportion varies. Thus there is one proportion of a tower, another of an house; one proportion of a gallery, another of an hall, another of a chamber. To judge of the proportions of these, you must be first acquainted with the purposes for which they were defigned. Good sense and experience acting together, find out what is fit to be done in every work of art. We are rational creatures, and in all our works we ought to regard their end and purpose; the gratification of any paffion, how innocent foever, ought only to be of fecondary confideration. Herein is placed the real power of fitness and proportion; they operate

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operate on the understanding confidering them, which approves the work and acquiefces in it. The paffions, and the imagination which principally raises them, have here very little to do. When a room appears in its original nakedness, bare walls and a plain ceiling; let its proportion be ever fo excellent, it pleases very little; a cold approbation is the utmost we can reach; a much worfe-proportioned room with elegant mouldings and fine feftoons, glaffes, and other merely ornamental furniture, will make the imagination revolt against the reason; it will please much more than the naked proportion of the first room, which the understanding has so much approved, as admirably fitted for its purposes. What I have here faid and befcre concerning proportion, is by no means to perfuade people absurdly to neglect the idea of ufe in the works of art. It is only to shew that these excellent things, beauty and proportion, are not the fame; not that they should either of them be difregarded.

SECT. VIII.

THE RECAPITULATION.

ON the whole; if fuch parts in human bodies as are found proportioned, were likewise constantly found beautiful, as they certainly are not; or if they were so situated, as that a pleasure might

flow

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flow from the comparison, which they feldom are; or if any affignable proportions were found, either in plants or animals, which were always attended with beauty, which never was the cafe; or if, where parts were well adapted to their purposes, they were conftantly beautiful, and when no ufe appeared, there was no beauty, which is contrary to all experience; we might conclude, that beauty consisted in proportion or utility. But since, in all respects, the cafe is quite otherwise; we may be fatisfied that beauty does not depend on these, let it owe its origin to what else it will.

SECT. IX.

PERFECTION NOT THE CAUSE OF BEAUTY.

THERE is another notion current, pretty closely allied to the former; that Perfection is the conftituent cause of beauty. This opinion has been made to extend much farther than to sensible objects. But in these, so far is perfection, confidered as fuch from being the cause of beauty; that this quality, where it is highest, in the female fex, almost always carries with it an idea of weakness and imperfection. Women are very fenfible of this; for which reafon, they learn to lifp, to totter in. their walk, to counterfeit weakness, and even ficknefs. In all this they are guided by nature. Beauty in distress is much the most affecting beauty. Blushing has little less power; and modesty in general, which is a tacit allowance of imperfection, is itself confidered as an amiable quality, and certainly heightens every other that is so. I know it is in every body's mouth, that we ought to love perfection. This is to me a fufficient proof, that it is not the proper object of love. Who ever faid we ought to love a fine woman, or even any of these beautiful animals which please us? Here to be affected, there is no need of the concurrence of our will.

SECT. X.

HOW FAR THE IDEA OF BEAUTY MAY BE APPLIED TO THE QUALITIES OF THE MIND.

NOR is this remark in general less applicable to the qualities of the mind. Those virtues which cause admiration, and are of the fublimer kind, produce terrour rather than love; such as fortitude, justice, wisdom, and the like. Never was any man amiable by force of these qualities. Those which engage our hearts, which impress us with a sense of loveliness, are the softer virtues; eafiness of temper, compassion, kindness, and liberality; though certainly those latter are of less immediate and momentous concern to society, and of less dignity. But it is for that reason that they are so amiable. The great virtues turn principally

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on dangers, punishments, and troubles, and are exercised rather in preventing the worst mischiefs, than in dispensing favours; and are therefore not lovely, though highly venerable. The fubordinate turn on reliefs, gratifications, and indulgences; and are therefore more lovely, though inferiour in dignity. Those perfons who creep into the hearts of most people, who are chosen as the companions of their fofter hours, and their reliefs from care and anxiety, are never perfons of shining qualities or strong virtues. It is rather the foft green of the foul on which we rest our eyes that are fatigued with beholding more glaring objects. It is worth observing how we feel ourselves affected in reading the characters of Cæfar and Cato, as they are so finely drawn and contrafted in Sallust. In one the ignofcendo, largiundo; in the other, nil largiundo. In one the miferis perfugium; in the other, malis perniciem. In the latter we have much to admire, much to reverence, and perhaps something to fear; we respect him, but we respect him at a distance. The former makes us familiar with him; we love him, and he leads us whither he pleases. To draw things closer to our first and most natu. ral feelings, I will add a remark made upon reading this section by an ingenious friend. The authority of a father, so useful to our well-being, and so justly venerable upon all accounts, hinders us from having that entire love for him that we

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