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Hogarth, William, 1697-1764 / The analysis of beauty : written with a view of fixing the fluctuating ideas of taste

Chap. XV: of the face,   pp. 122-134

Page 128

been often repeated in the face, at length mark it with 
fuch lines as fufficiently diftinguifh  the charater of 
the mind. 
The ancients in their loweft charaders have (hewn 
as much judgment, and as great a degree of tafle in the 
management and twifling of the lines of them, as in 
their ftatues of a fublimer kind; in the former varying 
only from the precife line of grace in fome parts where 
the character or ation required it. The dying gladiator 
and the dancing fawn, the former a flave, the latter a 
wild clown, are fculptored in as high a tafle of lines as 
the Antinous or the Apollo; with this difference, that the 
precife line of grace abounds more in the two laft: not- 
Fig.1o7 withifanding 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 reprefented more debafed than in the charader 
of the Silenus, fig. *, where the bulging-line figure +9, 
No. 7, runs through all the features of the face, as well 
as the other parts of his fwinifh body: whereas in the 
fatyr of the wood, tho' the ancients have joined the 
brute with the man, we ftill fee preferved an elegant 
difplay of ferpentine 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 
negleted, or mixt with plain lines, yet fo far are they 
from being defedive on this account, that by this means 
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