10.  Here, if you will, is another point of her excellence:  one of which neither she nor any truly modest and decorous woman thinks anything:  but which we have been made to think much of, by those who are too fond of ornament and display, and refuse to listen to instruction on such matters.  She was never adorned with gold wrought into artistic forms of surpassing beauty, nor flaxen tresses, fully or partially displayed, nor spiral curls, nor dishonouring designs of men who construct erections on the honourable head, nor costly folds of flowing and transparent robes, nor graces of brilliant stones, which color the neighbouring air, and cast a glow upon the form; nor the arts and witcheries of the painter, nor that cheap beauty of the infernal creator who works against the Divine, hiding with his treacherous pigments the creation of God, and putting it to shame with his honour, and setting before eager eyes the imitation of an harlot instead of the form of God, so that this bastard beauty may steal away that image which should be kept for God and for the world to come.  But though she was aware of the many and various external ornaments of women, yet none of them was more precious to her than her own character, and the brilliancy stored up within.  One red tint was dear to her, the blush of modesty; one white one, the sign of temperance:  but pigments and pencillings, and living pictures, and flowing lines of beauty, she left to women of the stage and of the streets, and to all who think it a shame and a reproach to be ashamed.

Ιʹ. Εἴπω καὶ τοῦτο βούλεσθε τῶν ἐκείνης καλῶν: ὃ τῇ μὲν ἄξιον οὐδενὸς ἐδόκει, οὐδ' ὅσαι σώφρονες ἀληθῶς καὶ κόσμιαι τὸν τρόπον: μέγα δὲ δοκεῖν πεποιήκασιν αἱ λίαν φιλόκοσμοι καὶ φιλόκαλοι καὶ οὐδὲ λόγῳ καθαιρόμεναι τῶν τὰ τοιαῦτα ἐκπαιδευόντων. Οὐ χρυσὸς ἐκείνην ἐκόσμησε τέχνῃ πονηθεὶς εἰς κάλλους περιουσίαν, οὐ ξανθαὶ πλοκαμίδες διαφαινόμεναί τε καὶ ὑποφαινόμεναι, καὶ βοστρύχων ἕλικες, καὶ σοφίσματα σκηνοποιούντων τὴν τιμίαν κεφαλὴν ἀτιμότατα, οὐκ ἐσθῆτος περιῤῥεούσης καὶ διαφανοῦς πολυτέλεια, οὐ λίθων αὐγαὶ καὶ χάριτες χρωννῦσαι τὸν πλησίον ἀέρα, καὶ τὰς μορφὰς περιλάμπουσαι: οὐ ζωγράφων τέχναι καὶ γοητεύματα, καὶ τὸ εὔωνον κάλλος, καὶ ὁ κάτωθεν πλάστης ἀντιδημιουργῶν, καὶ κατακρύπτων τὸ τοῦ Θεοῦ πλάσμα ἐπιβούλοις χρώμασι, καὶ διὰ τῆς τιμῆς αἰσχύνων, καὶ προτιθεὶς τὴν θείαν μορφὴν εἴδωλον πορνικὸν λίχνοις ὄμμασιν, ἵνα κλέψῃ τὸ νόθον κάλλος τὴν φυσικὴν εἰκόνα τηρουμένην Θεῷ καὶ τῷ μέλλοντι. Ἀλλὰ πολλοὺς μὲν ᾔδει καὶ παντοίους γυναικῶν κόσμους τοὺς ἔξωθεν, τιμιώτερον δὲ οὐδένα τοῦ ἑαυτῆς τρόπου, καὶ τῆς ἔνδον ἀποκειμένης λαμπρότητος. Ἓν μὲν ἔρευθος ἐκείνῃ φίλον, τὸ τῆς αἰδοῦς: μία δὲ λευκότης, ἡ παρὰ τῆς ἐγκρατείας. Τὰς δὲ γραφὰς καὶ ὑπογραφὰς, καὶ τοὺς ζῶντας πίνακας, καὶ τὴν ῥέουσαν εὐμορφίαν, ταῖς ἐπὶ θεάτρων παρῆκε καὶ τῶν τριόδων, καὶ ὅσαις αἰσχύνη καὶ ὄνειδος τὸ αἰσχύνεσθαι.