The Mirror of the Graces: Containing General Instructions for Combining Elegance, Simplicity, and Economy with Fashion in Dress; Hints on Female Accomplishments and Manners; and Directions for the Preservation of Health and Beauty — John Shaqi
The Mirror of the Graces: Containing General Instructions for Combining Elegance, Simplicity, and Economy with Fashion in Dress; Hints on Female Accomplishments and Manners; and Directions for the Preservation of Health and BeautyLady of distinction, active 19th century
History
The Mirror of the Graces: Containing General Instructions for Combining Elegance, Simplicity, and Economy with Fashion in Dress; Hints on Female Accomplishments and Manners; and Directions for the Preservation of Health and Beauty
Lady of distinction, active 19th century
Beauty, Personal; Clothing and dress -- Great Britain -- History -- 19th century; Etiquette -- Great Britain
When good-humor and vivacity reign within, the face is lighted up with
benignant smiles; where peace and gentleness are the tenants of the
bosom, the countenance beams with mildness and complacency. Evil temper
has, with truth, been called a more terrible enemy to beauty than the
small-pox. I beseech you, therefore, as you value the preservation of
your charms, to resist the dominion of this rude despoiler, to foster
and encourage the feelings of kindliness and good-humor, and to repress
every emotion of a contrary character.
I shall conclude this important subject by remarking with the
Spectator, that “no woman can be handsome by the force of features
alone, any more than she can be witty only by the gift of speech.”
THE SAME SUBJECT, OF FEMALE BEAUTY, MORE EXPLICITLY CONSIDERED.
“Let Art no useless ornament display,
But just explain what Nature meant to say.”
YOUNG.
So far, my friends, I have thrown together my sentiments on the
aggregate of the female form: I shall now descend to particulars, and
leave it to your judgments to adopt my suggestions according to the
correspondence with your different characters.
The preservation of an agreeable complexion (which always presupposes
health) is not the most insignificant of exterior charms. Though we
yield due admiration to regularity of features, (the Grecian contour
being usually so called,) yet when we consider them merely in the
outline, our pleasure can go no further than that of a cold critic,
who regards the finely proportioned lineaments of life as he would
those of a statue. It is complexion that lends animation to a picture;
it is complexion that gives spirit to the human countenance. Even the
language of the eyes loses half its eloquence, if they speak from the
obscurity of an inexpressive skin. The life-blood in the mantling
cheek; the ever-varying hues of nature glowing in the face, “as if her
very body thought;” these are alike the ensigns of beauty and the
heralds of the mind; and the effect is, an impression of loveliness, an
attraction, which fills the beholder with answering animation and the
liveliest delight.
“’Tis not a lip or eye we beauty call,
But the joint force and full result of all.”
As a Juno-featured maid with a dull skin, by most people, will only be
coldly pronounced _critically_ handsome; so a young woman with very
indifferent features, but a fine complexion, will, from ten persons out
of twelve, receive spontaneous and warm admiration.
Public-domain text, read in full here on John Shaqi.
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