A painter's representation of heaven would be nothing without swarms of these little inconsistent objects, flying about, or perching on the clouds; and yet there is something so agreeable in their form, that the eye is reconciled and overlooks the absurdity, and we find them in the carving and painting of almost every church. St. Paul's is full of them.
As the foregoing principles are the very ground work of what is to follow; we will, in order to make them the more familiar to us, just speak of them in the way they are daily put in practice, and may be seen, in every dress that is worn; and we shall find not only that ladies of fashion, but that women of every rank, who are said to dress prettily, have known their force, without considering them as principles.
I. Fitness is first considered by them, as knowing that their dresses should be useful, commodious, and fitted to their different ages; or rich, airy, and loose, agreeable to the character they would give out to the public by their dress.
II. Uniformity is chiefly complied with in dress on account of fitness, and seems to be extended not much farther than dressing both arms alike, and having the shoes of the same colour. For when any part of dress has not the excuse of fitness or propriety for its uniformity of parts, the ladies always call it formal.
For which reason, when they are at liberty to make what shapes they please in ornamenting their persons, those of the best taste choose the irregular as the more engaging: for example, no two patches are ever chosen of the same size, or placed at the same height; nor a single one in the middle of a feature, unless it be to hide a blemish. So a single feather, flower, or jewel is generally placed on one side of the head; or if ever put in front, it is turn'd awry to avoid formality.
It was once the fashion to have two curls of equal size, stuck at the same height close upon the forehead, which probably took its rise from seeing the pretty effect of curls falling loosely over the face.