That which constitutes the source of attraction to well regulated minds, does not depend upon the disposition of the features, nor the colour of the skin. It is possible to every kind of exterior form. "This beauty," it has been well observed, "does not always consist in smiles, but varies as expressions of meekness and kindness vary with their objects: it is extremely forcible in the silent complaint of patient sufferance, the tender solicitude of friendship, and the glow of filial obedience; and in tears, whether of joy, of pity, or of grief, it is almost irresistible. "This is the charm which captivates without the aid of nature, and without which her utmost bounty is ineffectual. But it cannot be assumed as a mask to conceal insensibility or malevolence: it must be the effect of corresponding sentiments, or it will impress upon the countenance a new and more disgusting deformity--AFFECTATION. Looks, which do not correspond with the heart, cannot be assumed without labour, nor continued without pain: the motive to relinquish them must, therefore, soon preponderate, and the aspect and apparel of the visit will be laid by together: the smiles and the languishments of art will vanish, and the fierceness of rage, or the gloom of discontent, will either obscure or destroy all the elegance of symmetry and complexion. "The artificial aspect is, indeed, as wretched a substitute for the expression of sentiment, as the smear of paint for the blushes of health: it is not only equally transient, and equally liable to detection; but, as paint leaves the countenance yet more withered and ghastly, the passions burst out with more violence after restraint, the features become more distorted, and excite more determined aversion. "Beauty, therefore, depends principally upon the mind, and consequently may be influenced by education. It has been remarked, that the predominent passion may generally be discovered in the countenance; because the muscles by which it is expressed, being almost perpetually contracted, lose their tone, and never totally relax; so that the expression remains when the passion is suspended: thus, an angry, a disdainful, a subtle, and a suspicious temper, is displayed in characters that are almost universally understood. It is equally true of the pleasing and the softer passions, that they leave their signatures upon the countenance when they cease to act. The prevalence of these passions, therefore, produces a mechanical effect upon the aspect, and gives a turn and cast to the features, which make a more favourable and forcible impression upon the mind of others, than any charm produced by mere external causes.