By these obvious appearances, and the differences of the whole size, we easily judge of ages till twenty, but not with such certainty afterwards; for the alterations from that age are of a different kind, subject to other changes by growing fatter or leaner, which it is well known, often give a different turn to the look of the person, with regard to his age. The hair of the head, which encompasses a face as a frame doth a picture, and contrasts with its uniform colour, the variegated inclosed composition, adding more or less beauty thereto, according as it is disposed by the rules of art, is another indication of advanced age. What remains to be said on the different appearances of ages, being less pleasing than what has gone before, shall be described with more brevity. In the age from twenty to thirty, barring accidents, there appears but little change, either in the colours or the lines of the face; for tho' the bloom tints may go off a little, yet on the other hand, the make of the features often attain a sort of settled firmness in them, aided by an air of acquired sensibility; which makes ample amends for that loss, and keeps beauty till thirty pretty much upon a par; after this time, as the alterations grow more and more visible, we perceive the sweet simplicity of many rounding parts of the face, begin to break into dented shapes, with more sudden turns about the muscles, occasioned by their many repeated movements; as also by dividing the broad parts, and thereby taking off the large sweeps of the serpentine lines; the shades of beauty also consequently suffering in their softnesses. Something of what is here meant between the two ages of thirty and fifty, see in figures [117 and 118 B p. II], and what further havock time continues to make after the age of fifty, is too remarkable to need describing: the strokes and cuts he then lays on are plain enough; however, in spite of all his malice, those lineaments that have once been elegant, retain their flowing turns in venerable age, leaving to the last a comely piece of ruins. [Illustration: Figs. 117 and 118] CHAPTER XVI. _Of ATTITUDE_. Such dispositions of the body and limbs as appear most graceful when seen at rest, depend upon gentle winding contrasts, mostly govern'd by the precise serpentine line, which in attitudes of authority, are more extended and spreading than ordinary, but reduced somewhat below the medium of grace, in those of negligence and ease: and as much exaggerated in insolent and proud carriage, or in distortions of pain (see figure 9, plate I) as lessen'd and contracted into plain and parallel lines, to express meanness, aukwardness, and submission. [Illustration: Fig. 9]