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liness does not arise from sharp angles, or 

 from any sudden variation ; but rather from 

 that want of form, that unshapen lumpish 

 appearance, which, perhaps, no one word 

 exactly expresses ; a quality (if what is 

 negative may be so called) which never can 

 be mistaken for beauty, never can adorn 

 it, and which is equally unconnected with 

 the sublime, and the picturesque. The re- 

 mains of Grecian sculpture afford us the 

 most generally acknowledged models of 

 beauty of form, in its most exquisitely 

 finished state; if this be granted, every 

 change that could be made in such models, 

 must be a diminution of the perfect cha- 

 racter of beauty, and an approach towards 

 some other. Were an artist, for instance, 

 to model, in any soft material, a head from 

 the Venus or the Apollo, and then by way 

 of experiment to make the nose longer or 

 sharper ; rising more suddenly towards the 

 middle ; or strongly aquiline ; were he to 

 give a striking projection to the eye-brow, 

 or to interrupt by some marked deviation 

 the flowing outline of the face,— though hq 



