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,