Monsieur St. Evremont¹ has concluded one of his Essays, with affirming that the last Sighs of a Handsome Woman are not so much for the loss of her Life, as of her Beauty. Perhaps this Raillery is pursued too far, yet it is turn'd upon a very obvious Remark, that Woman's strongest Passion is for her own Beauty, and that she values it as her Favourite Distinction. From hence it is that all Arts, which pretend to improve or preserve it, meet with so general a Reception among the Sex. To say nothing of many False Helps and Contraband Wares of Beauty, which are daily vended in this great Mart, there is not a Maiden-Gentlewoman, of a good Family in any County of South-Britain, who has not heard of the Virtues of May-Dew, or is unfurnished with some Receipt or other in Favour of her Complexion; and I have known a Physician of Learning and Sense, after Eight Years Study in the University, and a Course of Travels into most Countries of Europe, owe the first raising of his Fortunes to a Cosmetick Wash.

This has given me Occasion to consider how so Universal a Disposition in Womankind, which springs from a laudable Motive, the Desire of Pleasing, and proceeds upon an Opinion, not altogether groundless, that Nature may be helped by Art, may be turn'd to their Advantage. And, methinks, it would be an acceptable Service to take them out of the Hands of Quacks and Pretenders, and to prevent their imposing upon themselves, by discovering to them the true Secret and Art of improving Beauty.

In order to this, before I touch upon it directly, it will be necessary to lay down a few Preliminary Maxims, viz.

• That no Woman can be Handsome by the Force of Features alone, any more than she can be Witty only by the Help of Speech.
• That Pride destroys all Symmetry and Grace, and Affectation is a more terrible Enemy to fine Faces than the Small-Pox.
• That no Woman is capable of being Beautiful, who is not incapable of being False.
• And, That what would be Odious in a Friend, is Deformity in a Mistress.

From these few Principles, thus laid down, it will be easie to prove, that the true Art of assisting Beauty consists in Embellishing the whole Person by the proper Ornaments of virtuous and commendable Qualities. By this Help alone it is that those who are the Favourite Work of Nature, or, as Mr. Dryden expresses it, the Porcelain Clay of human Kind², become animated, and are in a Capacity of exerting their Charms: And those who seem to have been neglected by her, like Models wrought in haste, are capable, in a great measure, of finishing what She has left imperfect.

It is, methinks, a low and degrading Idea of that Sex, which was created to refine the Joys, and soften the Cares of Humanity, by the most agreeable Participation, to consider them meerly as Objects of Sight. This is abridging them of their natural Extent of Power, to put them upon a Level with their Pictures at Kneller's. How much nobler is the Contemplation of Beauty heighten'd by Virtue, and commanding our Esteem and Love, while it draws our Observation? How faint and spiritless are the Charms of a Coquet, when compar'd with the real Loveliness of Sophronia's Innocence, Piety, good Humour and Truth; Virtues which add a new Softness to her Sex, and even beautify her Beauty! That Agreeableness, which must otherwise have appeared no longer in the modest Virgin, is now preserv'd in the tender Mother, the prudent Friend, and the faithful Wife. Colours, artfully spread upon Canvas, may entertain the Eye, but not affect the Heart; and she, who takes no care to add to the natural Graces of her Person any excelling Qualities, may be allowed still to amuse, as a Picture, but not to triumph as a Beauty.

When Adam is introduced by Milton describing Eve in Paradise, and relating to the Angel the Impressions he felt upon seeing her at her first Creation, he does not represent her like a Grecian Venus by her Shape or Features, but by the Lustre of her Mind which shone in them, and gave them their Power of charming.

Grace was in all her Steps, Heaven in her Eye,
In all her Gestures Dignity and Love.

Without this irradiating Power the proudest Fair One ought to know, whatever her Glass may tell her to the contrary, that her most perfect Features are Uninform'd and Dead.

I cannot better close this Moral, than by a short Epitaph written by Ben Johnson, with a Spirit which nothing could inspire but such an Object as I have been describing.

Underneath this Stone doth lie
As much Virtue as cou'd die,
Which when alive did Vigour give
To as much Beauty as cou'd live³.

I am, Sir,
Your most humble Servant,
R. B.

Ay; There look like the Workmanship of Heav'n:
This is the Porcelain Clay of Human Kind.

'One name was Elizabeth,
The other, let it sleep in death.'

Underneath this stone doth lie,
As much Beauty as could die,
Which in Life did Harbour give
To more Virtue than doth live.

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... parcit
Cognatis maculis similis fera ...

Juv.

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Risu inepto res ineptior milla est.

Mart.

1. He is exceedingly given to little Apish Tricks and Buffooneries.
2. He so much delights in Mimickry, that it is all one to him whether he exposes by it Vice and Folly, Luxury and Avarice; or, on the contrary, Virtue and Wisdom, Pain and Poverty.
3. He is wonderfully unlucky, insomuch that he will bite the Hand that feeds him, and endeavour to ridicule both Friends and Foes indifferently. For having but small Talents, he must be merry where he can, not where he should.
4. Being entirely void of Reason, he pursues no Point either of Morality or Instruction, but is ludicrous only for the sake of being so.
5. Being incapable of any thing but Mock-Representations, his Ridicule is always Personal, and aimed at the Vicious Man, or the Writer; not at the Vice, or at the Writing.