[122]
C H A P.__ XV.
Of--
the--
F A C E.
HAVING
thus spoken briefly of light, shade and
colour, we now return to our lineal account of
form, as proposed (page 91) with regard to the face.
1. The front
of this building by Inigo Jones, is an additional
exempli-
fication of the principles for varying the parts in
building; (explained
by the candlesticks, &c. chap 8.) which would
appear to be a stronger
proof still, were a building formed of squares, on
squares; with squares
uniformly cut in each square to be opposed to it,
to shew the reverse.
It
[123]
It is an observation,
that, out of the great number of
faces that have been form'd since the creation of
the
world, no two have been so exactly alike, but that
the
usual and common discernment of the eye would dis-
cover a difference between them : therefore it is
not
unreasonable to suppose, that this discernment is
still
capable of further improvements by instructions from
a
methodical enquiry ; which the ingenious Mr. Richard-
son, in his treatise on painting, terms the art
of seeing.
1. I shall begin with a description of such lines
as
compose the features of a face of the highest taste,
and
the reverse. See fig. *, taken from an antique head,
which stands in the first rank of estimation : in
proof
of this, Raphael Urbin, and other great painters and
sculptors, have imitated it for the characters of
their
heroes and other great men ; and the old man's head,
fig. †, was model'd in clay, by Fiamingo (and
not in-
ferior in its taste of lines, to the best antique)
for the use
of Andrea Sacchi, after which model he painted all
the
heads in his famous picture of St. Romoaldo's dream
;
and this picture hath the reputation of being one
of the
best pictures in the world 2.
These examples are here chosen to exemplify and
confirm the force of serpentine lines in a face ;
and let
2 Note, I must
refer the reader to the casts of both these pieces
of
sculpture, which are to be found in the hands of the
curious ; because
it is impossible to express all that I intend, with
sufficient accuracy, in a
print of this size, whatever pains might have been
taken with it ; or in-
deed in any print were it ever so large.
R 2 it
[124]
it also be observed, that in these
master-pieces of art,
all the parts are otherwise consistent with the rules
here-
tofore 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
there-
fore 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
ex-
plain the latter more fully ; by shewing the reverse
in
several degrees, down to the most contemptible mean-
ness 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
[125]
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.*,
...............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 re-
ceived 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
particu-
lar 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
every one 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 al-
most
* Fig. 106.
L. P. I.
[126]
most 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 an 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
dis-
cover him, as smiling and stabing 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 that 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 pre-
vented 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.
But least I should be thought to lay too great a stress
on outward shew, like a physiognomist, take this with
you
[127]
you, that it is acknowledg'd there
are so many different
causes which produce the same kind of movements and
appearances of the features, and so many thwartings
by accidental shapes in the make of faces, that the
old
adage, fronti nulla fides, will ever stand its ground
upon
the whole; and for very wise reasons nature hath thought
fit it should. But, on the other hand, as in many
par-
ticular cases, we receive information from the expressions
of the countenance, what follows is meant to give
a
lineal description of the language written therein
It may not be amiss just to look over the passions
of
the mind, from tranquillity to extreme despair ; as
they
are in order described in the common drawing-book,
called, Le Brun's passions of the mind ; selected
from
that great master's works for the use of learners;
where
you may have a compendious view of all the common
expressions at once. And altho' these are but imperfect
copies, they will answer our purpose in this place
better
than any other thing I can refer you to; because the
passions are there ranged in succession, and distinctly
marked with lines only, the shadows being omitted.
Some features are formed so as to make this or that
expression of a passion more or less legible; for
example,
the little narrow chinese eye suits a loving or laughing
expression best, as a large full eye doth those of
fierce-
ness and astonishment; and round-rising muscles will-
appear with some degree of chearfulness even in sorrow
:
the features thus suiting with the expressions that
have
been
[128]
been often repeated in the face, at length mark
it with
such lines as sufficiently distinguish the character
of
the mind.
The ancients in their lowest characters have shewn
as much judgement, and as great a degree of taste
in the
management and twisting of the lines of them, as in
their statues of a sublimer kind ; in the former varying
only from the precise line of grace in some parts
where
the character or action required it. The dying gladiator
and the dancing fawn, the former a slave, the latter
a
wild clown, are sculptored in as high a taste of line
as
the Antinous or the Apollo ; with this difference,
that the
precise line of grace abounds more in the two last:
not-
withstanding which it is generally allow'd there is
equal
merit in the former, as there is near as much judgment
required for the execution of them. Human nature can
hardly be represented more debased than in the character
of the Silenus, fig.*, where the bulging-line figure
49,
No. 7, runs through all the features of the face,
as well
as the other parts of his swinish body : whereas in
the
satyr of the wood, tho' the ancients have joined the
brute with the man, we still see preserved an elegant
display of serpentine lines, that make it a graceful
figure.
Indeed the works of art have need of the whole ad-
vantage of this line to make up for its other deficiencies:
for tho' in nature's works the line of beauty is often
neglected, or mixt with plain lines, yet so far are
they
from being defective on this account, that by this
means
there
* Fig. 107.
P. I.
[129]
there is
exhibited that infinite variety of human forms
which always distinguishes the hand of nature from
the
limited and insufficient one of art ; and as thus
she for
the sake of variety upon the whole, deviates sometimes
into plain and inelegant lines, if the poor artist
is but
able now and then to correct and give a better taste
to
some particular part of what he imitates, by having
learnt so to do from her more perfect works, or copying
from those that have, ten to one he grows vain upon
it,
and fancies himself a nature-mender ; not considering,
that even in these, the meanest of her works, she
is
never wholly destitute of such lines of beauty and
other
delicacies, as are not only beyond his narrow reach,
but
are seen wanting even in the most celebrated attempts
to rival her. But to return,
As to what we call plain lines, there is this remark-
able effect constantly produced by them, that being
more or less conspicuous in any kind of character
or ex-
pression of the face, they bring along with them certain
degrees of a foolish or ridiculous aspect.
It is the inelegance of these lines which more pro-
perly belonging to inanimate bodies, and being seen
where lines of more beauty and taste are expected,
that
renders the face silly and ridiculous. See chap. 6,
p.31
Children in infancy have movements in the muscles
of their faces peculiar to their age, as an uninformed
and unmeaning stare, an open mouth, and simple grin
:
all which expressions are chiefly formed of plain
curves,
S
and
[130]
and these movements and
expressions ideots are apt to
retain ; so that in time they mark their faces with
these
uncouth lines ; and when the lines coincide and agree
with the natural forms of the features, it becomes
a
more apparent and confirmed character of an ideot.
These plain shapes last mentioned, sometimes happen
to people of the best sense, to some when the features
are at rest, to others when they are put into motion
;
which a variety of constant regular movements proceed-
ing from a good understanding, and fashioned by a
genteel education, will often by degrees correct into
lines of more elegance.
That particular expression likewise of the face, or
movement of a feature which becomes one person, shall
be disagreeable in another, just as such expressions
or
turns chance to fall in with lines of beauty, or the
re-
verse ; for this reason there are pretty frowns and
disa-
greeable smiles: the lines that form a pleasing smile
about the corners of the mouth have gentle windings,
as fig.*, but lose their beauty in the full laugh,
as
fig.†, the expression of
excessive laughter, oftener than
any other, gives a sensible face a silly or disagreeable
look, as it is apt to form regular plain lines about
the
mouth, like a parenthesis, which sometimes appears
like
crying; as, on the contrary, I remember to have seen
a beggar who had clouted up his head very artfully,
and whose visage was thin and pale enough to excite
pity, but his features were otherwise so unfortunately
form'd
[131]
form'd for his purpose,
that what he intended for a grin
of pain and misery was rather a joyous laugh.
It is strange that nature hath afforded us so many
lines and shapes to indicate the deficiencies and
blemishes
of the mind, whilst there are none at all that point
out
the perfections of it beyond the appearance of common
sense and placidity. Deportment, words, and actions
must speak the good, the wise, the witty, the humane,
the generous, the merciful, and the brave. Nor are
gravity and solemn looks always signs of wisdom :
the
mind much occupied with trifles will occasion as grave
and sagacious an aspect, as if it was charged with
mat-
ters of the utmost moment ; the balance-master's atten-
tion to a single point, in order to preserve his balance,
may look as wise at that time as the greatest philoso-
pher in the depth of his studies. All that the ancient
sculptors could do, notwithstanding their enthusiastic
endeavours to raise the characters of their deities
to as-
pects of sagacity above the human, was to give them
fea-
tures of beauty. Their god of wisdom hath no more
in his look than a handsom manliness ; the Jupiter
is
carried somewhat higher, by giving it a little more
se-
verity than the Apollo, by a larger prominency of
brow
gently bending in seeming thoughtfulness, with an
ample beard, which being added to the noble quantity
of its other lines, invests that capital piece of
sculpture
with uncommon dignity, which in the mysterious lan-
guage of a profound conoisseur, is stiled a divine
idea,
inconceivably great, and above nature.
S 2 I
[132]
3dly and lastly, I shall shew in what manner the
lines
of the face alter from infancy upwards, and specify
the
different ages. We are now to pay most attention to
simplicity, as the difference of ages we are about
to speak
of, turn chiefly upon the use made of this principle
in
a greater or less degree, in the form of the lines.
From infancy till the body has done growing, the
contents both of the body and the face, and every
part
of their surface, are daily changing into more variety,
till they obtain a certain medium (see page 78 on
pro-
portion) from which medium, as fig.*, if we return
back to infancy, we shall see the variety decreasing,
till
by degrees that simplicity in the form, which gave
va-
riety its due limits, deviates into sameness ; so
that all
the parts of the face may be circumscribed in several
circles, as fig. +.
But there is another very extraordinary circumstance,
(perhaps never taken notice of before in this light)
which nature hath given us to distinguish one age
from
another by ; which is, that tho' every feature grows
larger and longer, till the whole person has done
grow-
ing, the sight of the eye still keeps its original
size; I
mean the pupil, with its iris or ring; for the diameter
of this circle continues still the same, and so becomes
a
fixt measure by which we, as it were, insensibly com-
pare the daily perceiv'd growings of the other parts
of
the face, and thereby determine a young person's age.
You may sometimes find this part of the eye in a new-
born
[133]
born infant, full as large as in a man of six foot;
nay,
sometimes larger, see fig.*, and +.
In infancy the faces of boys and girls have no visible
difference, but as they grow up the features of the
boy
get the start, and grow faster in proportion to the
ring
of the eye, than those of the girl, which shews the
dis-
tinction of the sex in the face. Boys who have larger
features than ordinary, in proportion to the rings
of their
eyes, are what we call manly-featured children ; as
those
who have the contrary, look more childish and younger
than they really are. It is this proportion of the
fea-
tures with the eyes, that makes women, when they are
dressed in mens-cloaths, look so young and boyish
: but
as nature doth not always stick close to these particulars,
we may be mistaken both in sexes and ages.
By these obvious appearances, and the differences
of
the whole size, we easily judge of ages till twenty,
but
not with such certainty afterwards ; for the alterations
from that age are of a different kind, subject to
other
changes by growing fatter or leaner, which it is well
known, often give a different turn to the look of
the
person, with regard to his age.
The hair of the head, which encompasses a face as
a
frame doth a picture, and contrasts with its uniform
colour, the variegated inclosed composition, adding
more or less beauty thereto, according as it is disposed
by the rules of art, is another indication of advanced
age.
What
[134]
What remains to be said
on the different appearances
of ages, being less pleasing than what has gone before,
shall be described w ith more brevity. In the age
from
twenty to thirty, barring accidents, there appears
but
little change, either in the colours or the lines
of the
face; for tho' the bloom tints may go off a little,
yet
on the other hand, the make of the features often
attain
a sort of settled firmness in them, aided by an air
of
acquired sensibility ; which makes ample amends for
that loss, and keeps beauty till thirty pretty much
upon
a par ; after this time, as the alterations grow more
and
more visible, we perceive the sweet simplicity of
many
rounding parts of the face, begin to break into dented
shapes, with more sudden turns about the muscles,
occasioned by their many repeated movements ; as also
by dividing the broad parts, and thereby taking off
the large sweeps of the serpentine lines; the shades
of
beauty also consequently suffering in their softnesses.
Something of what is here meant between the two ages
of thirty and fifty, see in figures *, and what further
havock time continues to make after the age of fifty,
is
too remarkable to need describing: the strokes and
cuts
he then lays on are plain enough; however, in spite
of
all his malice, those lineaments that have once been
elegant, retain their flowing turns in venerable age,
leaving to the last a comely piece of ruins.
C H A P.
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