The Works of William Cowper. William Cowper

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      Olney, May 3, 1784.

      My dear Friend—The subject of face-painting may be considered (I think) in two points of view. First, there is room for dispute with respect to the consistency of the practice with good morals; and, secondly, whether it be on the whole convenient or not may be a matter worthy of agitation. I set out with all the formality of logical disquisition, but do not promise to observe the same regularity any farther than it may comport with my purpose of writing as fast as I can.

      As to the immorality of the custom, were I in France, I should see none. On the contrary, it seems in that country to be a symptom of modest consciousness and a tacit confession of what all know to be true, that French faces have in fact neither red nor white of their own. This humble acknowledgment of a defect looks the more like a virtue, being found among a people not remarkable for humility. Again, before we can prove the practice to be immoral, we must prove immorality in the design of those who use it; either, that they intend a deception or to kindle unlawful desires in the beholders. But the French ladies, as far as their purpose comes in question, must be acquitted of both these charges. Nobody supposes their colour to be natural for a moment, any more than if it were blue or green: and this unambiguous judgment of the matter is owing to two causes; first, to the universal knowledge we have that French women are naturally brown or yellow, with very few exceptions, and, secondly, to the inartificial manner in which they paint: for they do not, as I am satisfactorily informed, even attempt an imitation of nature, but besmear themselves hastily and at a venture, anxious only to lay on enough. Where, therefore, there is no wanton intention nor a wish to deceive, I can discover no immorality. But in England (I am afraid) our painted ladies are not clearly entitled to the same apology. They even imitate nature with such exactness that the whole public is sometimes divided into parties, who litigate with great warmth the question, whether painted or not. This was remarkably the case with a Miss B——, whom I well remember. Her roses and lilies were never discovered to be spurious till she attained an age that made the supposition of their being natural impossible. This anxiety to be not merely red and white, which is all they aim at in France, but to be thought very beautiful and much more beautiful than nature has made them, is a symptom not very favourable to the idea we would wish to entertain of the chastity, purity, and modesty of our countrywomen. That they are guilty of a design to deceive is certain; otherwise, why so much art? and if to deceive, wherefore and with what purpose? Certainly either to gratify vanity of the silliest kind, or, which is still more criminal, to decoy and inveigle, and carry on more successfully the business of temptation. Here therefore my opinion splits itself into two opposite sides upon the same question. I can suppose a French woman, though painted an inch deep, to be a virtuous, discreet, excellent character, and in no instance should I think the worse of one because she was painted. But an English belle must pardon me if I have not the same charity for her. She is at least an impostor, whether she cheats me or not, because she means to do so; and it is well if that be all the censure she deserves.