There is, likewise, a kind of symmetry or proportion, which may properly be said to belong to deformity.  A figure lean or corpulent, tall or short, though deviating from beauty, may still have a certain union of the various parts, which may contribute to make them, on the whole, not unpleasing.  When the artist has by diligent attention acquired a clear and distinct idea of beauty and symmetry; when he has reduced the variety of nature to the abstract idea; his next task will be to become acquainted with the genuine habits of nature, as distinguished from those of fashion.  For in the same manner, and on the same principles, as he has acquired the knowledge of the real forms of nature, distinct from accidental deformity, he must endeavour to separate simple chaste nature from those adventitious, those affected and forced airs or actions, with which she is loaded by modern education.

Perhaps I cannot better explain what I mean than by reminding you of what was taught us by the Professor of Anatomy, in respect to the natural position and movement of the feet.  He observed that the fashion of turning, them outwards was contrary to the intent of nature, as might be seen from the structure of the bones, and from the weakness that proceeded from that manner of standing.  To this we may add the erect position of the head, the projection of the chest, the walking with straight knees, and many such actions, which are merely the result of fashion, and what nature never warranted, as we are sure that we have been taught them when children.

I have mentioned but a few of those instances, in which vanity or caprice have contrived to distort and disfigure the human form; your own recollection will add to these a thousand more of ill-understood methods, that have been practised to disguise nature, among our dancing-masters, hair-dressers, and tailors, in their various schools of deformity.

However the mechanic and ornamental arts may sacrifice to fashion, she must be entirely excluded from the art of painting; the painter must never mistake this capricious changeling for the genuine offspring of nature; he must divest himself of all prejudices in favour of his age or country; he must disregard all local and temporary ornaments, and look only on those general habits that are everywhere and always the same.  He addresses his works to the people of every country and every age; he calls upon posterity to be his spectators, and says with Zeuxis, In aeternitatem pingo.

The neglect of separating modern fashions from the habits of nature, leads to that ridiculous style which has been practised by some painters who have given to Grecian heroes the airs and graces practised in the court of Louis XIV.; an absurdity almost as great as it would have been to have dressed them after the fashion of that court.