rials which the painter found in nature, and thus it might with propriety be termed rather the model of mankind than of a man. It was not, however, the mechanical ſelection of limbs and features; but the ebullition of an heated fancy that burſt forth, and the fine ſenſes and enlarged underſtanding of the artiſt ſelected the ſolid matter, which he drew into this glowing focus.
I obſerved that it was not mechanical, becauſe a whole was produced—a model of that grand ſimplicity, of thoſe concurring energies, which arreſt our attention and command our reverence. For only inſipid lifeleſs beauty is produced by a ſervile copy of even beautiful nature. Yet, independent of theſe obſervations, I believe that the human form muſt have been far more beautiful than it is at preſent, becauſe extreme indolence, barbarous ligatures, and many cauſes, which forcibly act on it, in our luxurious ſtate of ſociety, did not retard its expanſion, or render it deformed. Exerciſe and cleanlineſs appear to be not only the ſureſt means of preſerving health, but of promoting beauty, the phyſical cauſes only conſidered; yet, this is not ſufficient, moral ones muſt concur, or beauty will be merely of that ruſtic kind which blooms on the innocent, wholeſome, countenances of ſome country people, whoſe minds have not been exerciſed. To render the perſon perfect, phyſical and moral beauty ought to be attained at the ſame time; each lending and receiving force by the combination. Judgment muſt reſide on the brow, affection and fancy beam in the eye, and humanity curve the check, or vain is the ſparkling of the
