be for its own benefit; as if this forcible impression which it makes upon us was not antecedent to all our observations.

The beauty of virtuous principles, the chief adornment of human nature, is nothing but the beauty of the soul marked out in the management of life. If in the works of art the relation of the means to the conclusion is sufficient to ornament them, what can be more charming than the narrative of all the deeds of a virtuous man or woman to an end adapted to their abilities, their rank, or the felicity of their fellow-creatures, as well as their own happiness.

On the other hand, what deformity can be more disagreeable to the sight,

than to see friendship and equity sacrificed to self-interest? What more base, than to degrade ourselves by the sordid objects which we follow, or blindly giving up ourselves to the dictates of a precipitant arrogance, or wavering in irresolute principles?

It is the united beauty of the soul and the idea, which concerts to make that rare and estimable accomplishment, imperfectly expressed by the style urbanity: it is a genteel elegance, which knows how to approve without being offensive, to give praise without envy, to rally without ill nature; which marks out the defects of mankind with a gay whim, unattended by malevolence; which is able to throw the most serious subjects into the most

pleasant dress, either by an ironical turn, or by a politeness of expression. From gravity it passes to cheerfulness, and employs an easy wit, which yields a double pleasure to the mind, because it is not concealed or entangled, while it leaves room for conjecture, and gives a delightful appearance to all the sentiments of virtue.

Tempt with ambition, if you can, the soul,
Whom neither vanity nor wants controul.

The air of the face, and of the whole person, sometimes brings into one point of view all these numerous kinds of beauty. There is a certain resemblance, which the external figure preserves with the accomplishments, which characterise

the good disposition of the mind and soul.

The happy conformation of the organs is noted by an air of freedom and assurance; that of the fluids, by an air of vivacity. An air of delicacy is as it were a particle which proceeds from a fine imagination; an air of softness indicates delusive complaisance; a majestic air denotes a sublimity of sentiment; a gentle sweetness in the air is a certain sign of a return of friendship.

All these various airs are pleasing, not only because of the qualities they express, but also by the sensations which they excite, and they become more or less so in proportion to the secret rela

tions which they bear to our peculiar dis

positions.

Those animals which attract us by their beauty, give us this pleasing impression either from their bright colours, or their graceful motions, and the sensations which they seem to express to us by their air.