The Analysis of Beauty / Written with a view of fixing the fluctuating ideas of taste

by William Hogarth

These examples are here chosen to exemplify and confirm the force of serpentine lines in a face; and let it also be observed, that in these master-pieces of art, all the parts are otherwise consistent with the rules heretofore laid down: I shall therefore only shew the effects and use of the line of beauty. One way of proving in what manner the serpentine line appears to operate in this respect, may be by pressing several pieces of wire close up and down the different parts of the face and features of those casts; which wires will all come off so many serpentine lines, as is partly marked in figure 97, by the dotted lines. The beard and hair of the head, fig. 98, being a set of loose lines naturally, and therefore disposable at the painter's or sculptor's pleasure, are remarkably composed in this head of nothing else but a varied play of serpentine lines, twisting together in a flame-like manner.

But as imperfections are easier to be imitated than perfections, we shall now have it in our power to explain the latter more fully; by shewing the reverse in several degrees, down to the most contemptible meanness that lines can be form'd into.

Figure 99, is the first degree of deviation from figure 97; where the lines are made straighter, and reduced in quantity; deviating still more in figure 100, more yet in figure 101, and yet more visibly in 102; figure 103, still more so; figure 104 is totally divested of all lines of elegance, like a barber's block; and 105 is composed merely of such plain lines as children make, when of themselves they begin to imitate in drawing a human face. It is evident, the inimitable Butler was sensible of the mean and ridiculous effect of such kind of lines, by the description he gives of the shape of Hudibras's beard, fig. [106 L p. I],

In cut and dye so like a tile,
A sudden view it would beguile.

2. With regard to character and expression; we have daily many instances which confirm the common received opinion, that the face is the index of the mind; and this maxim is so rooted in us, we can scarce help (if our attention is a little raised) forming some particular conception of the person's mind whose face we are observing, even before we receive information by any other means. How often is it said, on the slightest view, that such a one looks like a good-natur'd man, that he hath an honest open countenance, or looks like a cunning rogue; a man of sense, or a fool, &c. And how are our eyes riveted to the aspects of kings and heroes, murderers and saints; and as we contemplate their deeds, seldom fail making application to their looks. It is reasonable to believe that aspect to be a true and legible representation of the mind, which gives everyone the same idea at first sight; and is afterwards confirm'd in fact: for instance, all concur in the same opinion, at first sight, of a down-right idiot.

There is but little to be seen by childrens faces, more than that they are heavy or lively; and scarcely that unless they are in motion. Very handsom faces of almost any age, will hide a foolish or a wicked mind till they betray themselves by their actions or their words: yet the frequent aukward movements of the muscles of the fool's face, tho' ever so handsom, is apt in time to leave such traces up and down it, as will distinguish a defect of mind upon examination: but the bad man, if he be a hypocrite, may so manage his muscles, by teaching them to contradict his heart, that little of his mind can be gather'd from his countenance, so that the character of an hypocrite is entirely out of the power of the pencil, without some adjoining circumstance to discover him, as smiling and stabbing at the same time, or the like.

It is by the natural and unaffected movements of the muscles, caused by the passions of the mind, that every man's character would in some measure be written in his face, by the time he arrives at forty years of age, were it not for certain accidents which often, tho' not always prevent it. For the ill-natur'd man, by frequently frowning, and pouting out the muscles of his mouth, doth in time bring those parts to a constant state of the appearance of ill-nature, which might have been prevented by the constant affectation of a smile; and so of the other passions: tho' there are some that do not affect the muscles at all simply of themselves, as love and hope.