In persons and works, grace signifies, not only that which is pleasing, but that which is attractive; so that the ancients imagined that the goddess of beauty ought never to appear without the graces. Beauty never displeases, but it may be deprived of this secret charm, which invites us to regard it, and sentimentally attracts and fills the soul. Grace in figure, carriage, action, discourse, depends on its attractive merit. A beautiful woman will have no grace, if her mouth be shut without a smile, and if her eyes display no sweetness. The serious is not always graceful, because unattractive, and approaching too near to the severe, which repels.

A well-made man whose carriage is timid or constrained, gait precipitate or heavy, and gestures awkward, has no gracefulness, because he has nothing gentle or attractive in his exterior. The voice of an orator which wants flexibility or softness is without grace.

It is the same in all the arts. Proportion and beauty may not be graceful. It cannot be said that the pyramids of Egypt are graceful; it cannot be said that the Colossus of Rhodes is as much so as the Venus of Cnidus. All that is merely strong and vigorous exhibits not the charm of grace.

It would show but small acquaintance with Michelangelo and Caravaggio to attribute to them the grace of Albano. The sixth book of the “?neid” is sublime; the fourth has more grace. Some of the gallant odes of Horace breathe gracefulness, as some of his epistles cultivate reason.

It seems, in general, that the little and pretty of all kinds are more susceptible of grace than the large. A funeral oration, a tragedy, or a sermon, are badly praised, if they are only honored with the epithet of graceful.

It is not good for any kind of work to be opposed to grace, for its opposite is rudeness, barbarity, and dryness. The Hercules of Farnese should not have the gracefulness of the Apollo of Belvidere and of Antinous, but it is neither rude nor clumsy. The burning of Troy is not described by Virgil with the graces of an elegy of Tibullus: it pleases by stronger beauties. A work, then, may be deprived of grace, without being in the least disagreeable. The terrible, or horrible, in description, is not to be graceful, neither should it solely affect its opposite; for if an artist, whatever branch he may cultivate, expresses only frightful things, and softens them not by agreeable contrasts, he will repel.

Grace, in painting and sculpture, consists in softness of outl............