th sentiment,
and expresses a charm which is not peculiar to any set of features, but
is perhaps possible to all.

9. This beauty, however, does not always consist in smiles, but varies
as expressions of meekness and kindness vary with their objects: it is
extremely forcible in the silent complaint of patient sufferance, the
tender solicitude of friendship, and the glow of filial obedience; and
in tears, whether of joy, of pity, or of grief, it is almost
irresistible.

10. This is the charm which captivates without the aid of nature, and
without which her utmost bounty is ineffectual. But it cannot be assumed
as a mask to conceal insensibility or malevolence; it must be the
genuine effect of corresponding sentiments, or it will impress upon the
countenance a new and more disgusting deformity, affectation: it will
produce the grin, the simper, the stare, the languish, the pout, and
innumerable other grimaces, that render folly ridiculous, and change
pity to contempt.

11. By some, indeed, this species of hypocrisy has been practised with
such skill as to deceive superficial observers, though it can deceive
even those but for a moment.--Looks which do not correspond with the
heart, cannot be assumed without labour, nor continued without pain; the
motive to relinquish them must, therefore, soon preponderate, and the
aspect and apparel of the visit will be laid by together; the smiles and
languishments of art will vanish, and the fierceness of rage, or the
gloom of discontent, will either obscure or destroy all the elegance of
symmetry and complexion.

12. The artificial aspect is, indeed, as wretched a substitute for the
expression of sentiment; as the smear of paint for the blushes of
health: it is not only equally transient, and equally liable to
dejection; but as paint leaves the countenance yet more withered and
ghastly, the passions burst out with move violence after restraint, the
features become more distorted and excite more determined aversion.

13. Beauty, therefore, depends principally upon the mind, and,
consequently, may be influenced by education. It has been remarked, that
the predominant passion may generally be discovered in the countenance;
because the muscles by which it is expressed, being almost perpetually
contracted, lose their tone, and never totally relax; so that the
expression remains when the passion is suspended; thus an angry, a
disdainful, a subtle and a suspicious temper, is displayed