A sudden view it would beguile.'
"To set this in an outréd light, see fig. 4,[59] a face almost as square as a die; and fig. 5, as truly round as a globe. The effect of the latter is rather ridiculous than ugly. Sir Plume's empty look, described in the 'Rape of the Lock,' would not be near so vacant without the idea of roundness:
'With round unthinking face.'
"The dialogue between Cleopatra and the Messenger, relative to the person of Octavia, proves that Shakspeare, who seems to have seen through all nature, saw this in the same light."[60]
To No. 3 he thus alludes in his Analysis, p. 128, but has not engraved it in his explanatory plate, though it would certainly have been a better example than his old man's head, fig. 98:—
"Human nature can hardly be represented more debased than in the character of the Silenus, where the bulging line runs through all the features of the face, as well as the other parts of this swinish body; whereas, in the satyr of the wood, though the ancients have joined the brute with the man, we still see preserved an elegant display of serpentine lines that renders it graceful." His manuscript continues:—
"The fine airs and graceful turns and windings of such a head were produced by adhering to this line; and it was this Mr. Pope conceived of Raphael and Guido in his epistle to Mr. Jarvis, the king's painter, or he meant nothing:
'Each heavenly piece unwearied we compare,
Match Raphael's grace with thy loved Guido's air,
Carracci's strength, Correggio's softer line,