On the Beautiful in the Grecian Statues: 42% 
allowed, a peculiar beauty of form and feature 
adapted to each of the passions; but here also, 
in order ‘to the perfect, the mean must be ob- 
served; and this perfect form, as expressive of 
the passions, rejects the predominance of any 
one feature, which usurps over the others, which 
subdues the whole form and countenance to one 
characteristic and’ generally disagreeable expres- 
sion. This must enter in no small degree into 
all our judgment of the human figure; the sense 
both of the beautiful-and the proper must asso- 
ciate with our conceptions of the mind, which the 
configuration of the form in all its parts, and in 
all the acting of mind thereon, is fitted to express. 
In every human figure, which on any: ‘account 
attracts our attention, the immediate impulse is 
to read the mind in the face. Animals read it; 
itis an universal character, and designed to be 
read in some degree by all who have an interest 
in its information; for it is the hand-writing of 
the Almighty, and inasmuch as mind is superior 
to body, that form is pronounced to be more 
beautiful, which in every expression presents a 
beautiful mind, and at the same time is conformed 
to the interesting affections which are proper to 
the varied situation and circumstance of mind. 
Perfect beauty therefore supposes perfect beauty 
of mind, and deformity in both ‘is the violation 
of the mean, Perfect mind admits’ of no 'pre- 
