That no woman can be handsome by the force of features alone, any more she can be witty only by the help of speech.
That pride destroys all symmetry and grace, and affectation is a more terrible enemy to fine faces than the small-pox.
That no woman is capable of being beautiful, who is not incapable of being false.
And, that what would be odious in a friend, is deformity in a mistress.
32. 'From these few principles thus laid down, it will be easy to prove that the true art of assisting beauty consists in embellishing the whole person by the proper ornaments of virtuous and commendable qualities. By this help alone it is, that those who are the favourite work of nature, or, as Mr. Dryden expresses it, the porcelain clay of human kind, become animated, and are in a capacity of exerting their charms: and those who seem to have been neglected by her, like models wrought in haste, are capable, in a great measure, of finishing what she has left imperfect.
33. 'It is, methinks, a low and degrading idea of that sex, which was created to refine the joys, and soften the cares of humanity, by the most agreeable participation, to consider them merely as objects of sight.—This is abridging them of their natural extent of power to put them upon a level with their pictures at the pantheon. How much nobler is the contemplation of beauty heightened by virtue, and commanding our esteem and love, while it draws our observation?
34. 'How faint and spiritless are the charms of a coquette, when compared with the real loveliness of Sophronia's innocence, piety, good-humour, and truth; virtues which add a new softness to her sex, and even beautify her beauty! That agreeableness, which must otherwise have appeared no longer in the modest virgin, is now preserved in the tender mother, the prudent friend and faithful wife'.
35. 'Colours artfully spread upon canvas may entertain the eye, but not affect the heart; and she, who takes no care to add to the natural graces of her person, any excelling qualities, may be allowed still to amuse as a picture, but not to triumph as a beauty.
'When Adam is introduced by Milton describing Eve in Paradise, and relating to the angel the impressions he felt upon seeing her at her first creation, he does not represent her like a Grecian Venus, by her shape of features, but by the lustre of her mind which shone in them, and gave them their power of charming.
36.