Not beautiful in its brightness and sublimity alone, but beautiful wherever the steps of Deity have trod—wherever the hand of the divine artificer has been employed, from the golden glory of a sunset cloud, to the gossamer thread on which are strung the pearls of morning dew.
Now, let me ask whether a mind, habitually engaged in the contemplation of subjects such as these, would be likely to be diverted from its noble but natural exercise, by vulgar calculations upon the comparative beauty of a face? No. It would be perfectly aware, where such beauty did exist; but it would also be impressed with the important fact, that in relation to the wondrous and magnificent whole, its own share of beauty constituted so small a part, as scarcely to be worthy of a passing thought.
Those who are accustomed to enlightened views on this subject, will know also that there are different kinds of personal beauty, amongst which, that of form and colouring holds a very inferior rank. There is a beauty of expression, for instance, of sweetness, of nobility, of intellectual refinement, of feeling, of animation, of meekness, of resignation, and many other kinds of beauty, which may all be allied to the plainest features, and yet may remain, to give pleasure long after the blooming cheek has faded, and silver grey has mingled with the hair. And how far more powerful in their influence upon others, are some of these kinds of beauty! for, after all, beauty depends more upon the movements of the face, than upon the form of the features, when at rest; and thus, a countenance habitually under the influence of amiable feelings acquires a beauty of the highest order, from the frequency with which such feelings are the originating cause of the movements or expressions which stamp their character upon it.
Who has not waited for the first opening of the lips of a
