But the beauty of the infant is not perfect beauty: it is that, on the contrary, of mere promise, not that of fulfilment. So also the beauty of old age is not perfect beauty: it is that, on the contrary, which affects and interests us chiefly by the regret we feel that its perfection has passed, or is gradually vanishing.
“The same observation,” says Alison, “is yet still more obvious with regard to the difference of sex. In every part of the form, the proportions which are beautiful in the two sexes are different; and the application of the proportions of the one to the form of the other, is everywhere felt as painful and disgusting.” So also says Burke: “Let us rest a moment on this point; and consider how much difference there is between the measures that prevail in many similar parts of the body, in the two sexes of this single species only. If you assign any determinate proportions to the limbs of man, and if you limit human beauty to these proportions, when you find a woman who differs in the make and measure of almost every part, you must conclude her not to be beautiful in spite of the suggestions of your imagination; orin obedience to your imagination you must renounce your rules; you must lay by the scale and compass, and look out for some other cause of beauty. For, if beauty be attached to certain measures which operate from a principle in nature, why should similar parts with different measures of proportion be found to have beauty, and this, too, in the very same species?”
To this I might say the beauty of woman is not the highest beauty: it is beauty of the nutritive more than of the higher thinking system. But there is another and a better answer: the difference of sex which affects all the higher animals is a greater difference than that which subsists between some of their varieties or even of their species; and the same laws of ideal beauty are as inapplicable to different sexes as to different species.
“We see, every day, around us,” says Alison, “some forms of our species which affect us with sentiments of beauty. In our own sex, we see the forms of the legislator, the man of rank, the general, the man of science, the private soldier, the sailor, the laborer, the beggar, &c. In the other sex, we see the forms of the matron, the widow, the young woman, the nurse, the domestic servant, &c.... We expect different proportions of form from the painter, in his representation of a warrior and a shepherd, of a senator and of a peasant, of a wrestler and a boatman, of a savage and of a man of cultivated manners.... We expect, in the same manner, from the statuary, very differentproportions in the forms of Jove and of Apollo [this should have been excepted], of Hercules and of Antinous, of a Grace and of Andromache, of a Bacchanal and of Minerva,” &c.
That, in all these cases, the beauty is partial, is evident from the circumstance that what is found in one is wanting in another; and partial beauty is not perfect beauty. But this last point has been well stated by Reynolds and Barry.
“To the principle I have laid down,” says Reynolds, “that the idea of beauty in each species of being is an invariable one, it may be objected, that in every particular species there are various central forms which are separate and distinct from each other, and yet are undeniably beautiful; that in the human figure, for instance, the beauty of Hercules is one, of the Gladiator another, of the Apollo another [again the same error]; which makes so many different ideas of beauty.... It is true, indeed, that these figures are each perfect in their kind, though of different character and proportions; but still none of them is the representation of an individual, but of a class. And as there is one general form, which, as I have said, belongs to the human kind at large, so in each of these classes there is one common idea and central form, which is the abstract of the various individual forms belonging to that class. Thus, though the forms of childhood and age differ exceedingly, there is a common form in childhood, and a common form in age, which is the more perfect, as it is more remote from all peculiarities. But I mustadd farther, that though the most perfect forms of each of the general divisions of the human figure are ideal, and superior to any individual form of that class, yet the highest perfection of the human figure is not to be found in any one of them. It is not in the Hercules, nor in the Gladiator, nor in the Apollo, but in that form which is taken from all, and which partakes equally of the activity of the Gladiator, of the delicacy of the Apollo, and of the muscular strength of the Hercules. For perfect beauty in any species must combine all the characters which are beautiful in that species. It cannot consist in any one to the exclusion of the rest: no one, therefore, must be predominant, that no one may be deficient.”
“A high degree of particular character,” says Barry, “cannot be superinduced upon pure or simple beauty without altering its constituent parts; this is peculiar to grace only; for particular characters consist, as has been observed before, in those deviations from the general standard for the better purpose of effecting utility and power, and become so many species of a higher order; where nature is elevated into grandeur, majesty, and sublimity.”
There isAN IDEAL IN ATTITUDEas well as in the form of the head and body.
This ideal is exactly opposed to the academical rule mentioned by Dufresnoy, Reynolds, and others, namely, that the right leg and left arm, or the left leg and right arm, should be advanced or withdrawn together. These are the mere attitudes of progression, not those of expression; and theacademical rule is only an academical blunder. To anything but walking—to the free and unembarrassed expressions of the body, it is, indeed, quite inapplicable, and could produce only contortion.
The rule of ideal attitude, which I long ago deduced, both from physiological principles, and from the practice of the Greek artists, is that all the parts of one side of the body should be advanced or withdrawn together; that when one side is advanced, the other should be withdrawn; and that when the right arm is elevated, extended, or bent forward, the left leg should be elevated, extended, or bent backward—in all respects the reverse of the academical rule, so complacently mentioned by Dufresnoy, Reynolds, &c.
The foundation of this rule in the necessary balance of the body, and that distribution of motion which equally animates every part, must be obvious to every one. It is illustrated by the finest statues of the Greeks, wherever the expression intended was free and unembarrassed, and even in those, as the Laocoon and his sons, where, though the action was constrained and convulsive, the sculptor was yet at liberty to employ the most beautiful attitude. It is abandoned in these great works, when either action embarrassed by purpose, or clownishness, as in the Dancing Faun, are expressed.[48]
I have now only to add, with Moreau, that individual beauty, the most perfect, differs always greatly from the ideal, and that which is least removed from it, is very difficult to be found. Hence, in all languages, the epithetrareis attached to beauty; and the Italians even call itpellegrina, foreign, to indicate that they have not frequently an opportunity of seeing it: they speak of “bellezze pellegrine,”—“leggiadria singolare e pellegrina.”
“Hominum divûmque voluptas, alma Venus.”
Of this, the most perfect models have been created by Grecian art. Few, we are told, were the living beauties, from whom such ideal model could be framed. The difficulty of finding these among the women of Greece, must have been considerable, when Praxiteles and Apelles were obliged to have recourse, in a greater or less degree, to the same person, for the beauties of the Venus of Cnidos, executed in white marble, and the Venus of Cos, painted in colors. It is asserted by Athenæeus, that both these productions were, in some measure, taken from Phryne of Thespia, in Bœotia, then a courtesan at Athens.
Both productions are said to have represented Phryne coming out of the sea, on the beach of Sciron, in the Saronic gulf, between Athens and Eleusis, where she was wont to bathe.
It is said, that there, at the feast of Neptune, Phryne, in the presence of the people of Eleusis, having cast aside her dress, and allowing her long hair to fall over her shoulders, plunged into thesea, and sported long amid its waves. An immense number of spectators covered the shore; and when she came out of it, all exclaimed, “It is Venus who rises from the waters!” The people would actually have taken her for the goddess, if she had not been well known to them.
Apelles and Praxiteles, we are told, were both upon the shore; and both resolved to represent the birth of Venus according to the beautiful model which they had just beheld.
Such is said to have been the origin of two of the greatest works of antiquity. The work of Apelles, known under the name of Venus Anadyomene, was placed by Cesar in the temple of Venus Genitrix, after the conquest of Greece. An idea of the sculpture of Praxiteles is supposed to have been imperfectly preserved to modern times in the Venus de Medici.
We are farther told, that, after having studied several attitudes, Phryne fancied to have discovered one more favorable than the rest for displaying all her perfections; and that both painter and sculptor were obliged to adopt her favorite posture. From this cause, the Venus of Cnidos, and the Venus of Cos, were so perfectly alike, that it was impossible to remark any difference in their features, contour, or more particularly in their attitude.
The painting of Apelles, it is added, was far from exciting so much enthusiasm among the Greeks, as the sculpture of Praxiteles. They fancied that the marble moved; that it seemed to speak; and their illusion, says Lucian, was so great, that theyended by applying their lips to those of the goddess.[49]
“Praxiteles,” says Flaxman, “excelled in the highest graces of youth and beauty. He is said to have excelled not only other sculptors, but himself, by his marble statues in the Ceramicus of Athens; but his Venus was preferable to all others in the world, and many sailed to Cnidos for the purpose of seeing it. This sculptor having made two statues of Venus, one with drapery, the other without, the Coans preferred the clothed figure, on account of its severe modesty, the same price being set upon each. The citizens of Cnidos took the rejected statue, and afterward refused it to King Nicomedes, who would have forgiven them an immense debt in return; but they were resolved to suffer anything so long as this statue by Praxiteles ennobled Cnidos.... This figure is known by the descriptions of Lucian and Cedrenus, and it is represented on a medal of Caracalla and Plautilla, in the imperial cabinet of France. This Venus was still in Cnidos during the reign of the emperor Alcadius, about four hundred years after Christ.This statue seems to offer the first idea of the Venus de Medici, which is likely to be the repetition of another Venus, the work of this artist.” He elsewhere says of the Venus of Praxiteles, it was “the most admired female statue of all antiquity, whose beauty is as perfect as it is elevated, and as innocent as perfect; from which the Medicean Venus seems but a deteriorated variety.”
Flaxman states that he himself had seen, in the stables of the Braschi palace, a statue which he supposed might be the original work of Praxiteles. Strange to tell, nothing is now known of its fate! A supposed cast from this, or from a copy of it, conforming to the figure on the model of Caracalla, is to be seen at the Royal Academy.
Of theVenus de Medici, Flaxman says, it “was so much a favorite of the Greeks and Romans, that a hundred ancient repetitions of this statue have been noticed by travellers. The individual figure is said to have been found in the forum of Octavia. The style of sculpture seems to have been later than Alexander the Great.
Let us now briefly examine this Model of Female Beauty.
The Venus de Medici represents woman at that age when every beauty has just been perfected. “The Venus de Medici at Florence,” says Winckelmann, “is like a rose which, after a beautiful daybreak, expands its leaves to the first ray of the sun, and represents that age when the limbs assume a more finished form and the breast begins to develop itself.”
The size of the head is sufficiently small to leave that predominance to the vital organs in the chest, which, as already said, makes the nutritive system peculiarly that of woman. This is the first and most striking proof of the profound knowledge of the artist, the principles of whose art taught him that the vast head, on the contrary, was the characteristic of a very different female personage.[50]—In mentioning the head, it is scarcely possible to avoid noticing the rich curls of the hair.
The eyes next fix our attention by their soft, sweet, and glad expression. This is produced with exquisite art. To give softness, the ridges of the eyebrows are rounded. To give sweetness, the under eyelid, which I would call the expressive one, is slightly raised. “The eyes of Venus,” says Winckelmann, “are smaller, and the slight elevation of the lower eyelid produces that languishing look called by the Greeksὑγρὸν.” To give the expression of gladness or of pleasure, the opening of the eyelids is diminished, in order to diminish, or partially to exclude, the excess of those impressions, which make even pleasure painful. Other exquisite details about those eyes, confer on them unparalleled beauty. Still, as observed by the samewriter, this look is far from those traits indicative of lasciviousness, with which some modern artists have thought to characterize their Venuses. Love was considered by the ancient masters, as by the wise philosophers of those times, to use the expression of Euripides, as the counsellor of wisdom:τῆ σοφία παρέδρους ἔρωτας. One thing must be observed: there is not here, as in some less happy representations of Venus, any downcast look, but that aspect of which Metastasio, in his Inno a Venere, says:
“Tu colle lucidePupille chiare,Fai lieta e fertileLa terra e’l mare.”
And again:
“Presto à tuoi placidiAstri ridenti,Le nubi fuggono,Fuggono i venti.”[51]
Art still profounder was perhaps shown in the configuration of the nose. The peculiar connexion of this sense with love was evidently well understood by the great artist; and it is only gross ignorance that has made some persons question the appropriateness of that development of the organ which is here represented. Not only is smell peculiarly associated with love, in all the higheranimals, but it is associated with reproduction in plants, the majority of which evolve delicious odors only when the flowers or organs of fructification are displayed.[52]—Connected, indeed, with the capacity of the nose, and the cavities which open into it, is the projection of the whole middle part of the face.
In the mouth, also, is transcendent art displayed. It is rendered sweet and delicate by the lips being undeveloped at their angles,[53]and by the upper lip continuing so, for a considerable portion of its length. It expresses love of pleasure by the central development of both lips, and active love by the especial development of the lower lip.[54]By the slight opening of the lips, it expresses desire.[55]
These exquisite details, and the omission of nothing intellectually expressive that nature presents, have led some to imagine the Venus de Medici to be a portrait. In doing so, however, they see not the profound calculation required for nearly every feature thus imbodied. More strangely still, they forget the ideal character of the whole: the notion of this ideal head being too small, isespecially opposed to such an opinion. If more is wanting, it will surely be enough that the other works which we are supposed to possess of Praxiteles, the Faun and the Cupid, present similar fine details.[56]
Withal, the look is amorous and languishing, without being lascivious, and is as powerfully marked by gay coquetry, as by charming innocence.
The young neck is exquisitely formed. Its beautiful curves show a thousand capabilities of motion; and its admirably-calculated swell over the organ of voice, results from, and marks, the struggling expression of still mysterious love.
In short, I know no antique figure that displays such profound knowledge, both physiological and physiognomical, even in the most minute details; and all who are capable of appreciating thesethings, may well smile at those who pretend to compare with this any other head of Venus now known to us.
“With regard to the rest of the figure, the admirable form of the mammæ, which, without being too large, occupy the bosom, rise from it with various curves on every side, and all terminate in their apices, leaving the inferior part in each precisely as pendent as gravity demands; the flexile waist gently tapering little farther than the middle of the trunk; the lower portion of it beginning gradually to swell out higher even than the umbilicus; the gradual expansion of the haunches, those expressive characteristics of the female, indicating at once her fitness for the office of generation and that of parturition—expansions which increase till they reach their greatest extent at the superior part of the thighs; the fulness behind their upper part, and on each side of the lower part of the spine, commencing as high as the waist, and terminating in the still greater swell of the distinctly-separated hips; the flat expanse between these, and immediately over the fissure of the hips, relieved by a considerable dimple on each side, and caused by the elevation of all the surrounding parts; the fine swell of the broad abdomen which, soon reaching its greatest height, immediately under the umbilicus, slopes gently to the mons veneris, but, narrow at its upper part, expands more widely as it descends, while, throughout, it is laterally distinguished by a gentle depression from the more muscular parts on the sides of the pelvis; the beautifulelevation of the mons veneris; the contiguous elevation of the thighs which, almost at their commencement, rise as high as it does; the admirable expansion of these bodies inward, or toward each other, by which they almost seem to intrude upon each other, and to exclude each from its respective place; the general narrowness of the upper, and the unembraceable expansion of the lower part thus exquisitely formed;—all these admirable characteristics of female form, the mere existence of which in woman must, one is tempted to imagine, be, even to herself, a source of ineffable pleasure—these constitute a being worthy, as the personification of beauty, of occupying the temples of Greece; present an object finer, alas! than nature seems even capable of producing; and offer to all nations and ages a theme of admiration and delight.
Well might Thomson say:—
“So stands the statue that enchants the world,So bending tries to veil the matchless boast,The mingled beauties of exulting Greece.”
And Byron, in yet higher strain:—
“There, too, the goddess loves in stone, and fillsThe air around with beauty;within the paleWe stand, and in that form and face beholdWhat Mind can make, when Nature’s self would fail;And to the fond idolaters of oldEnvy the innate flash which such a soul could mould:We gaze and turn away, and know not where,Dazzled and drunk with beauty, till the heartReels with its fulness; there—for ever there—Chained to the chariot of triumphal Art,We stand as captives, and would not depart.”
PROPORTIONS OF THE VENUS DE MEDICI.
Has seven heads, seven parts, and three minutes in height.From the top of the head to the root of the hair, three parts.From the root of the hair to the eyebrows, three parts.From the eyebrows to the bottom of the nose, three parts.From the bottom of the nose, to that of the chin, three parts.From the bottom of the chin to the depression between the clavicles, four parts, three minutes and a half.From the depression between the clavicles to the lowest part of the breast, ten parts, five minutes.From the lowest part of the breast to the middle of the navel, eight parts, three minutes.From the middle of the navel to the base of the belly and beginning of the thighs, eleven parts, four minutes and a half.From the bottom of the belly to the middle of the kneepan, eighteen parts, two minutes.From the middle of the kneepan to the beginning of the flank, twenty-seven parts, three minutes.From the middle of the kneepan to the ground, twenty-five parts, three minutes.The greatest height of the foot, three parts, five minutes and a half.From the neck of the leg to the end of the toes, nine parts and half a minute.From the commencement of the humerus to the elbow, twenty parts, two minutes.From the elbow to the beginning of the hand, fourteen parts.The greatest breadth of the forearm, five parts.The greatest breadth of the arm, four parts, five minutes.From the depression between the clavicles to the beginning of the deltoid, six parts, four minutes.From the depression between the clavicles to the point of the nipple, ten parts and half a minute.Between the points of the nipples, eleven parts, two minutes.The breadth of the torso, at the level of the lowest part of the breast, fifteen parts, four minutes and a half.The least breadth of the torso, at the commencement of the flanks, fourteen parts, one minute.The greatest breadth of the torso, at the bottom of the flanks, seventeen parts, five minutes.The breadth from the trochanter of one thigh to that of the other, nineteen parts, three minutes.The greatest breadth of the thigh, nine parts, five minutes.The greatest breadth of the knee, six parts.The greatest breadth of the calf of the leg, six parts, three minutes and a half.The breadth from one ankle to another, four parts.The least breadth of the foot, three parts, three minutes and a half.The greatest breadth of the foot, five parts and one minute.
Has seven heads, seven parts, and three minutes in height.
From the top of the head to the root of the hair, three parts.
From the root of the hair to the eyebrows, three parts.
From the eyebrows to the bottom of the nose, three parts.
From the bottom of the nose, to that of the chin, three parts.
From the bottom of the chin to the depression between the clavicles, four parts, three minutes and a half.
From the depression between the clavicles to the lowest part of the breast, ten parts, five minutes.
From the lowest part of the breast to the middle of the navel, eight parts, three minutes.
From the middle of the navel to the base of the belly and beginning of the thighs, eleven parts, four minutes and a half.
From the bottom of the belly to the middle of the kneepan, eighteen parts, two minutes.
From the middle of the kneepan to the beginning of the flank, twenty-seven parts, three minutes.
From the middle of the kneepan to the ground, twenty-five parts, three minutes.
The greatest height of the foot, three parts, five minutes and a half.
From the neck of the leg to the end of the toes, nine parts and half a minute.
From the commencement of the humerus to the elbow, twenty parts, two minutes.
From the elbow to the beginning of the hand, fourteen parts.
The greatest breadth of the forearm, five parts.
The greatest breadth of the arm, four parts, five minutes.
From the depression between the clavicles to the beginning of the deltoid, six parts, four minutes.
From the depression between the clavicles to the point of the nipple, ten parts and half a minute.
Between the points of the nipples, eleven parts, two minutes.
The breadth of the torso, at the level of the lowest part of the breast, fifteen parts, four minutes and a half.
The least breadth of the torso, at the commencement of the flanks, fourteen parts, one minute.
The greatest breadth of the torso, at the bottom of the flanks, seventeen parts, five minutes.
The breadth from the trochanter of one thigh to that of the other, nineteen parts, three minutes.
The greatest breadth of the thigh, nine parts, five minutes.
The greatest breadth of the knee, six parts.
The greatest breadth of the calf of the leg, six parts, three minutes and a half.
The breadth from one ankle to another, four parts.
The least breadth of the foot, three parts, three minutes and a half.
The greatest breadth of the foot, five parts and one minute.
The arms of the Venus de Medici, it should be observed, are of modern construction, and unworthy of the figure.
TheVenus of Naplesis of altogether a different species of beauty.
That figure represents an ample and rather voluptuous matron, in an attitude of scarcely surpassable grace. The character of the face is beautiful, in profile especially, and its expression is grave. The mouth has much of nature about it, resembling greatly in character that feature as seenin Southern Europe; but its expression, though tender, is somewhat serious or fretful.
It presents, however, many faults. The head is monstrous. The neck is equally so, as well as coarse. The forehead, eyes, nose, and cheeks, present none of the finely-calculated details, which surprise and delight us in the Venus de Medici. The mammæ are not true.
After these, the androgynous being, called theVenus of Arles, is scarcely worthy of being mentioned. She derives some grandeur from antique character and symmetry, and some from her masculine features. The head is monstrous; the neck horrid; the nose heavy; the mouth contemptuous.
Upon the whole, neither the graceful matron of Naples, nor the manlike woman of the Louvre, can be brought into competition with the Venus de Medici.
Defects of the Locomotive System.
1. If the whole figure be either too broad or too tall; because, the first is inelegant, and the last unfeminine. Persons who are too tall are generally ill at ease and destitute of grace, a greater misfortune to a woman than to a man.—Too low a stature is a defect less disagreeable, especially for women. If, however, on the one side, it gives prettiness, on the other, it deprives of all imposing appearance.
2. If the bones, except those of the pelvis, be not proportionally small; because, in woman, this portion of the locomotive system ought to be completely subordinate to the vital.
3. If the ligaments, and the articulations they form, be not proportionally small; because, in woman, this portion of the locomotive system ought also to be completely subordinate to the vital.
Either of the last two defects will produce what is termed clumsiness.
4. If the muscles, generally more slender, feeble, soft and yielding than in man, be not large around the pelvis, and delicate elsewhere; because, thisis necessary, for reasons which will be afterward assigned, as well as to permit the ease and suppleness of the movements.
5. If, in a mature female, the length of the neck, compared with the trunk, be not proportionally somewhat less than in the male; because, in her, the subordination of the locomotive system, the predominance of the vital, and the dependance of the mental, are naturally connected with the shorter vertebrae and shorter course of the vessels of the neck.
(The following defects, from 6 to 15 inclusive, have necessarily a reference also to the vital system; because, the form and capacity of the cavities here spoken of, as formed by the osseous frame of the locomotive system, have an obvious relation to the vital organs, which these cavities are destined to contain.)
6. If the upper part of the body (exclusive of the bosom) be proportionally more, and the lower part of the body less prominent, than in man, so that, when she stands perfectly upright or lies on the back, the space between the breasts is more prominent than the mons veneris; because, such conformation is injurious to impregnation, gestation, and parturition.
7. If the shoulders seem wider than the haunches; because, this appearance generally arises from the narrowness of the pelvis, and its consequent unfitness for gestation and parturition.
8. If, on the contrary, the shoulders be muchnarrower than the pelvis; because, this indicates extreme weakness of the locomotive system.
9. If the shoulders do not slope from the lower part of the neck; because, this shows that the upper part of the chest is not sufficiently wide of itself, but is rendered angular by the muscularity, &c., of the shoulders.
10. If the upper part of the chest be not relatively short and wide, and if it owe not its width rather to itself than to the size of the shoulders; because, this shows that the vital organs contained in the chest are not sufficiently expanded.
11. If, in youth, the upper part of the trunk, including the muscles moving the shoulders, do not form an inverted cone, whose apex is the waist; because, in that case, the lightness and beauty of the locomotive system are destroyed by the unrestrained expansion of the vital.
12. If the loins be not extended at the expense of the chest above and of the limbs below; because, on this depends their capacity to receive organs enlarged or displaced during gestation.
13. If the back be not hollow; because, this shows that the pelvis is not sufficiently deep to project posteriorly, nor consequently of sufficient capacity for gestation and parturition.
14. If the haunches be not widely expanded (as already implied in speaking of the shoulders); because, the interior cavity of the pelvis is then insufficient for gestation and parturition.
15. If, in consequence of the form of the pelvis, and the arch of the pubis being larger, the monsveneris be not more prominent than the chest; because, the pelvic cavity is then also insufficient for gestation and parturition.
16. If the thighs of woman be not wider than those of man; because, the width of the female pelvis, and the purposes which it serves, require this.
17. If the size of the thighs be not large, the haunches as it were increasing till they reach their greatest extent at the upper part of the thigh, which anteriorly rises as high as the mons veneris, and if the knees do not approximate.
18. If the arms and the limbs be not relatively short, if they do not taper greatly as they recede from the trunk, and if the hands and feet be not small; because, it is the vital system and the trunk, which is by far the most important part in the female.
19. If the larynx or flute part of the throat be not small; because their magnitude indicates a masculine character.
Defects of the Vital System.
(Defects of the contained vital parts, which have been already implied in enumerating those of the containing locomotive parts, are not again mentioned here, as the intelligent reader can easily supply these and similar omissions.)
1. If, in consequence of marriage taking placebefore their full growth, women remain always of diminished stature, weak, and pale.
2. If the digestive organs being large rather than active, is inconsistent with the greater activity and less permanence of all the other functions, secretion, gestation, &c., excepted.
3. If the absorbing vessels, being inactive, are insufficient for large secretions.
4. If the circulating vessels, being inactive and imperfectly ramified, leave the skin cold, opaque, and destitute of complexion.
5. If the secreting vessels, being inactive, furnish neither the plumpness necessary to beauty, nor those ovarian, uterine, and mammary excretions on which progeny is dependant.
6. If the neck form not an insensible transition between the body and head, being sufficiently full to conceal the muscles of the neck and the flute part of the throat.
7. If, in a young woman, the mammæ, without being too large, do not occupy the bosom, and rise from it with nearly equal curves on every side, which similarly terminate in their apices; or if, in the mature woman, they do not, when supported, seem laterally to protrude somewhat on the space occupied by the arms; because, these show that this important part of the vital system is insufficiently developed.
8. If the waist, tapering little farther than the middle of the trunk, and being sufficiently marked, especially in the back and loins, by the approximation of the expanded pelvis, be not also slightlyencroached on by the plumpness of all the contiguous parts, without however destroying its elegance, softness and flexibility; because, this similarly shows feebleness in a portion of that system, which is by far the most important to woman.
9. If the waist be broader than the upper part of the trunk, including the muscles moving the shoulders; because, this indicates that expansion of the stomach, liver, and other glands, which is generally the result of their excessive use or excitement. It is attended with a common look and an inelegant appearance.
10. If the abdomen be not moderately expanded, its upper portion beginning to swell out, higher even than the umbilicus, and its greatest projection being almost immediately under that point; because, this shows a weakness of the vital system, and a disproportion to the parts immediately above.
11. If the abdomen, which should be highest immediately under the umbilicus, slope not gently toward the mons veneris, and be more prominent elsewhere; because this is the result of that excessive expansion which takes place during parturition.
12. If the abdomen, which, as well as being elevated, should be narrow at its upper part, become as broad there as below, and lose that gentle lateral depression by which it is distinguished from the more muscular parts on the sides of the pelvis; because, this indicates the operation of the causes mentioned in the preceding paragraph.
13. If a remarkable fulness exist not behind theupper part of the haunches, and on each side of the lower part of the spine, commencing as high as the waist, and terminating in the still greater swell of the distinctly separated hips; the flat expanse between these and immediately over the fissure of the hips, being relieved by a considerable dimple on each side, caused by the elevation of all the surrounding parts; because, it indicates feebleness in that system which is most essential to woman.
14. If the cellular tissue and the plumpness which is connected with it, do not predominate, so as to obliterate all distinct projection of the muscles; because, this likewise shows that an important portion of the vital system is feeble, and it deprives woman of the forms which are necessary to love. Nothing can completely compensate, in woman, for the absolute want of plumpness. The features of meager persons are hard; they have a dry and arid physiognomy; the mouth is without charm; the color is without freshness; their limbs seem ill united with their body; and all their movements are abrupt and coarse.
15. If plumpness be too predominant; because, it then destroys the distinctness of parts, and constitutes an excess productive of inconvenience.
16. If that excessive plumpness be broken, as it were, into masses; because, it constitutes coarseness of the vital system.
17. If former plumpness have left the previously-filled cellular tissue and expanded integuments enfeebled; because, that constitutes flaccidity.
18. If the almost entire absorption of adipose substance have finally left the bones angular, the muscles and other parts permanently rigid, and the skin dry; because, that indicates decay of the vital system, and characterizes age.
19. If the skin be not fine, soft, and white, delicate, thin, and transparent, fresh and animated, if the complexion be not pure and vivid, if the hair be not fine, soft, and luxuriant, and if the nails be not smooth, transparent, and rose-colored; because, these likewise show the feebleness of that system which is most important to woman.
Defects of the Mental System.
1. If the head, compared with the trunk, be not less than that of the male; because, the mental system, in the female, ought to be subordinate to the vital, and the reverse is inconsistent with the healthful and happy exercise of her faculties as woman.
2. If the organs of sense be not proportionally larger, when compared with the brain, and more delicately outlined than in the male; because, sensibility should exceed reasoning power, in the female.
3. If the brain (in other words) be not proportionally smaller, when compared with the organs of sense, than in the male; because, reasoning power should be subordinate to sensibility in the female.
4. If the cerebel be not proportionally smaller, when compared with the organs of sense, than in the male; because, voluntary power should also be subordinate to sensibility, in the female.
5. If the cerebel be not narrow and pointed posteriorly, that is, long rather than broad (its general form in woman); because, the volitions of woman should be intense, not permanent.
6. If the forehead be not large in proportion to the backhead, but on the contrary low, or very narrow; because, the former being the seat of observation, if the organ be small, the function must be correspondingly so, and in that case passion will probably predominate.
7. If the delicacy of the skin permit not to the touch of woman corresponding delicacy.
8. If the mouth be not small, or extend much beyond the nostrils, and if the lips be not delicately outlined and of vermillion hue.
9. If the nose be not nearly in the same direction with the forehead, or if more than a slight inflexion is to be seen.
10. If the eyes be not relatively large and perfectly clear in every part.
11. If the eyelids, instead of an oblong, form nearly a circular aperture, resembling somewhat the eye of monkeys, cats, or birds; because, this round eye, when large, and especially when dark, is always indicative of a bold, and, when small, of a pert insensibility of character.
12. If the eyelashes be not long and silky, and if the eyebrows be not furnished with fine hairs, and be not arched and distinctly separated.
13. If the ears be prominent, so as to alter the regularity of the oval of the head, or surcharge its outline with prominences.
External Indications of Figure.
External indications as to figure are required chiefly as to the limbs which are concealed by drapery. Such indications are afforded by the walk, to every careful observer.
In consideringthe proportion of the limbs to the body—if, even in a young woman, the walk, though otherwise good, be heavy, or the fall on each foot alternately be sudden, and rather upon the heel, the limbs, though well formed, will be found to be slender, compared with the body.
This conformation accompanies any great proportional development of the vital system; and it is frequently observable in the women of the Saxon population of England, as in the counties of Norfolk, Suffolk, &c.
In women of this conformation, moreover, the slightest indisposition or debility is indicated bya slight vibration of the shoulders, and upper part of the chest, at every step, in walking.
In consideringthe line or direction of the limbs—if, viewed behind, the feet, at every step, are thrown out backward, and somewhat laterally, the knees are certainly much inclined inward.
If, viewed in front, the dress, at every step, is as it were, gathered toward the front, and then tossed more or less to the opposite side, the knees are certainly too much inclined.
In consideringthe relative size of each portion of the limbs—if, in the walk, there be a greater or less approach to the marching pace, the hip is large; for we naturally employ the joint which is surrounded with the most powerful muscles, and, in any approach to the march, it is the hip-joint which is used, and the knee and ankle-joints which remain proportionally unemployed.
If, in the walk, the tripping pace be used, as in an approach to walking on tiptoes, the calf is large; for it is only by the power of its muscles that, under the weight of the whole body, the foot can be extended for this purpose.
If, in the walk, the foot be raised in a slovenly manner, and the heel be seen, at each step, to lift the bottom of the dress upward and backward, neither the hip nor the calf is well developed.
Even with regard to the parts of the figure which are more exposed to observation by the closer adaptation of dress, much deception occurs. It is, therefore, necessary to understand the arts employed for this purpose, at least by skilful women.
A person having a narrow face, wears a bonnet with wide front, exposing the lower part of the cheeks.—One having a broad face, wears a closer front; and, if the jaw be wide, it is in appearance diminished, by bringing the corners of the bonnet sloping to the point of the chin.
A person having a long neck has the neck of the bonnet descending, the neck of the dress rising, and filling more or less of the intermediate space. One having a short neck has the whole bonnet short and close in the perpendicular direction, and the neck of the dress neither high nor wide.
Persons with narrow shoulders have the shoulders or epaulets of the dress formed on the outer edge of the natural shoulder, very full, and both the bosom and back of the dress running in oblique folds, from the point of the shoulder to the middle of the bust.
Persons with waists too large, render them less before by a stomacher, or something equivalent, and behind by a corresponding form of the dress, making the top of the dress smooth across the shoulders, and drawing it in plaits to a narrow point at the bottom of the waist.
Those who have the bosom too small, enlarge it by the oblique folds of the dress being gathered above, and by other means.
Those who have the lower posterior part of the body too flat, elevate it by the top of the skirt being gathered behind, and by other less skilful adjustments, which though hid, are easily detected.
Those who have the lower part of the body tooprominent anteriorly, render it less apparent by shortening the waist, by a corresponding projection behind, and by increasing the bosom above.
Those who have the haunches too narrow, take care not to have the bottom of the dress too wide.
Tall women have a wide skirt, or several flounces, or both of these: shorter women, a moderate one, but as long as can be conveniently worn, with the flounces, &c., as low as possible.[57]
External Indications of Beauty.
Additional indications as to beauty are required chiefly where the woman observed precedes the observer, and may, by her figure, naturally and reasonably excite his interest, while at the same time it would be rude to turn and look in her face on passing.
There can, therefore, be no impropriety in observing, that the conduct of those who may happen to meet the woman thus preceding, will differ according to the sex of the person who meets her.—If the person meeting her be a man, and the lady observed be beautiful, he will not only look with an expression of pleasure at her countenance, but will afterward turn more or less completely to survey her from behind.—If the person meeting her be a woman, the case becomes more complex. If both be either ugly or beautiful, or if the person meeting her be beautiful and the lady observed be ugly, then it is probable, that the approaching personmay pass by inattentively, casting merely an indifferent glance: if, on the contrary, the woman meeting her be ugly, and the lady observed be beautiful, then the former will examine the latter with the severest scrutiny, and if she sees features and shape without defect, she will instantly fix her eyes on the head-dress or gown, in order to find some object for censure of the beautiful woman, and for consolation in her own ugliness.
Thus he who happens to follow a female may be aided in determining whether it is worth his while to glance at her face in passing, or to devise other means of seeing it.
Even when the face is seen, as in meeting in the streets or elsewhere, infinite deception occurs as to the degree of beauty. This operates so powerfully, that a correct estimate of beauty is perhaps never formed at first. This depends on the forms and still more on the colors of dress in relation to the face. For this reason, it is necessary to understand the principles according to which colors are employed at least by skilful women.[58]
When it is the fault of a face to contain too much yellow, then yellow around the face is used to remove it by contrast, and to cause the red and blue to predominate.
When it is the fault of a face to contain too much red, then red around the face is used toremove it by contrast, and to cause the yellow and blue to predominate.
When it is the fault of a face to contain too much blue, then blue around the face is used to remove it by contrast, and to cause the yellow and red to predominate.
When it is the fault of a face to contain too much yellow and red, then orange is used.
When it is the fault of a face to contain too much red and blue, then purple is used.
When it is the fault of a face to contain too much blue and yellow, then green is used.
It is necessary to observe that the linings of bonnets reflect their color on the face, and transparent bonnets transmit that color, and equally tinge it. In both these cases, the color employed is no longer that which is placed around the face, and which acts on it by contrast, but the opposite. As green around the face heightens a faint red in the cheeks by contrast, so the pink lining of the bonnet aids it by reflection.
Hence linings which reflect, are generally of the teint which is wanted in the face; and care is then taken that these linings do not come into the direct view of the observer, and operate prejudicially on the face by contrast, overpowering the little color which by reflection they should heighten. The fronts of bonnets so lined, therefore, do not widen greatly forward, and bring their color into contrast.
When bonnets do widen, the proper contrast is used as a lining; but then it has not a surfacemuch adapted for reflection, otherwise it may perform that office, and injure the complexion.
Understanding, then, the application of these colors in a general way, it may be noticed, that fair faces are by contrast best acted on by light colors, and dark faces by darker colors.
Dark faces are best affected by darker colors, evidently because they tend to render the complexion fairer; and fair faces do not require dark colors, because the opposition would be too strong.
Objects which constitute a background to the face, or which, on the contrary, reflect their hues upon it, always either improve or injure the complexion. For this and some other reasons, many persons look better at home in their apartments than in the streets. Apartments may, indeed, be peculiarly calculated to improve individual complexions.
External Indications of Mind.
External indications as to mind may be derived from figure, from gait, and from dress.
As to figure, a certain symmetry or disproportion of parts (either of which depends immediately upon the locomotive system)—or a certain softness or hardness of form (which belongs exclusively to the vital system)—or a certain delicacy or coarseness of outline (which belongs exclusively to the mental system)—these reciprocally denote a locomotive symmetry or disproportion—or a vital softness or hardness—or a mental delicacy orcoarseness, which will be found also indicated by the features of the face.
These qualities are marked in pairs, as each belonging to its respective system; for, without this, there can be no accurate or useful observation.
As to gait, that progression which advances, unmodified by any lateral movement of the body, or any perpendicular rising of the head, and which belongs exclusively to the locomotive system—or that soft lateral rolling of the body, which belongs exclusively to the vital system—or that perpendicular rising or falling of the head at every impulse to step, which belongs exclusively to the mental system—these reciprocally indicate a corresponding locomotive, or vital, or mental character, which will be found also indicated by the features of the face.
To put to the test the utility of these elements of observation and indication, let us take a few instances.—If, in any individual, locomotive symmetry of figure is combined with direct and linear gait, a character of mind and countenance not absolutely repulsive, but cold and insipid, is indicated.—If vital softness of figure is combined, with a gentle lateral rolling of the body in its gait, voluptuous character and expression of countenance are indicated.—If delicacy of outline in the figure, be combined with perpendicular rising of the head, levity, perhaps vanity, is indicated.—But there are innumerable combinations and modifications of the elements which we have just described. Expressionsof pride, determination, obstinacy, &c., are all observable.
The gait, however, is often formed, in a great measure, by local or other circumstances, by which it is necessary that the observer should avoid being misled.
Dress, as affording indications, though less to be relied on than the preceding, is not without its value. The woman who possesses a cultivated taste, and a corresponding expression of countenance, will generally be tastefully dressed; and the vulgar woman, with features correspondingly rude, will easily be seen through the inappropriate mask in which her milliner or dressmaker may have invested her.
External Indications of Habits.
External indications as to the personal habits of women are both numerous and interesting.
The habit of child-bearing is indicated by a flatter breast, a broader back, and thicker cartilages of the bones of the pubis, necessary widening the pelvis.
The same habit is also indicated by a high rise of the nape of the neck, so that the neck from that point bends considerably forward, and by an elevation which is diffused between the neck and shoulders. These all arise from temporary distensions of the trunk in women whose secretions are powerful, from the habit of throwing the shoulders backward during pregnancy, and the head againforward, to balance the abdominal weight; and they bestow a character of vitality peculiarly expressive.
The same habit is likewise indicated by an excess of that lateral rolling of the body in walking, which was already described as connected with voluptuous character. This is a very certain indication, as it arises from temporary distensions of the pelvis, which nothing else can occasion. As in consequence of this lateral rolling of the body, and of the weight of the body being much thrown forward in gestation, the toes are turned somewhat inward, they aid in the indication.
The habit of nursing children is indicated, both in mothers and nursery-maids, by the right shoulder being larger and more elevated than the left.
The habits of the seamstress are indicated by the neck suddenly bending forward, and the arms being, even in walking, considerably bent forward or folded more or less upward from the elbows.
Habits of labor are indicated by a considerable thickness of the shoulders below, where they form an angle with the inner part of the arm; and, where these habits are of the lowest menial kind, the elbows are turned outward and the palms of the hands backward.
The habits of many of the inferior female professions might easily be indicated; but they would be unsuitable to a work like this.
External Indications of Age.
External indications of age are required chiefly where the face is veiled, or where the woman observed precedes the observer and may reasonably excite his interest.
In either of these cases, if the foot and ankle have lost a certain moderate plumpness, and assumed a certain sinewy or bony appearance, the woman has generally passed the period of youth.
If in walking, instead of the ball or outer edge of the foot first striking the ground, it is the heel which does so, then has the woman in general passed the meridian of life.—Unlike the last indication, this is apparent, however the foot and ankle may be clothed.—The reason of this indication is the decrease of power which unfits the muscles to receive the weight of the body by maintaining the extension of the ankle-joint.
Exceptions to this last indication are to be found chiefly in women in whom the developments of the body are proportionally much greater, either from a temporary or a permanent cause, than those of the limbs, the muscles of which are consequently incapable of receiving the weight of the body by maintaining the extension of the ankle-joint.
APPENDIX
Mr. Walker’s extravagant admiration of the Grecian mythology has led him to over-estimate its influence upon poetry and the arts. That these were influenced, in a very important degree, by the religion of Greece, no one acquainted with the history of that nation, can doubt; but, that the arts cannot exist where the Grecian mythology is not the popular religion, is an opinion unsupported by the history of the past, and altogether opposed to their present flourishing state in civilized countries. In no age or nation has the art of painting, for example, attained higher perfection, than in Italy during the 13th and 14th centuries; a period which has been called “the golden age of Italian art,” and its high excellence has been justly attributed to the introduction of Christianity. “The walls and cupolas,” says a late writer, “of new and splendid churches were immediately covered, as if by enchantment, with the miracles of paintings and sculpture—the eager multitude were not compelled to wait till genius had labored for years on what it had been years in conceiving. Those eager spirits seemed to breathe out their creations in full and mature beauty—performing at once, by the buoyant energies of well-disciplined genius, more than all the cold precision of mechanical knowledge can ever accomplish.” Allan Cunningham, in his life of Flaxman, the artist, speaking of these paintings, remarks: “Into these Flaxman looked with the eye of a sculptor and of a Christian. He saw, he said, that the mistress to whom the great artists of Italy had dedicated their genius was the Church; that they were unto her as chief priests, to interpret her tenets and her legends to the world in a more brilliant language than that of relics and images. To her illiterate people, the Church addressed herself through the eye, and ledtheir senses captive by the external magnificence with which she overwhelmed them.”
But it is unnecessary to multiply quotations to prove this point. Flaxman never uttered a truer saying, than when he remarked, that “the Christian religion presents personages and subjects no less favorable to painting and sculpture than the ancient classics.” Accordingly, we find among his own immortal productions, that the monument erected in memory of Miss Lushington, in Kent, representing a mother mourning for her daughter, comforted by a ministering angel, was inspired by that text of holy writ, “Blessed are they that mourn;” and the monument in memory of the family of Sir Francis Baring imbodies these words, “Thy will be done—thy kingdom come—deliver us from evil.” To the first motto belongs a devotional figure as large as life—
“Her looks communing with the skies;”
a perfect image of piety and resignation. On one side, imbodying “Thy kingdom come,” a mother and daughter ascend to the skies welcomed rather than supported by angels; and on the other, expressing the sentiment “Deliver us from evil,” a male figure, in subdued agony, appears in the air, while spirits of good and evil contend for the mastery. This has been considered one of the finest pieces of motionless poetry in England. We hold, then, that Mr. Walker’s remark that “neither poetry nor the arts can have being, without the religion of Greece,” is far from being sustained, either by history or observation.
The remarks of Mr. Walker, in relation to the duty of parents and teachers, seem to us well-founded and judicious. If moral, as well as intellectual and physical education, be part of the parental duty, then it would seem to follow, that it should embrace those subjects which are of the most importance, both to the physical and moral well-being of the child; and surely, the relation of the sexes, and the due subjection of the animal propensities, are not the least important of these. There is a delicacy generally felt and observed on this point, which springs from a principle that we honor and respect, while, at the same time, we doubt whether it leads to favorable and auspicious results. No one, who looks backupon the years of his own childhood, can for a moment doubt that judicious advice and seasonable information on certain subjects, which were probably considered of a too delicate nature to be even hinted at, would have been highly useful. The young will inevitably become initiated into certain vices and evil practices, unless put on their guard, by the warning voice of those they love and respect. There are a variety of passions, affections, and appetites, which belong to our nature, and were intended when properly directed and indulged, to promote our interest and happiness. Those under consideration, early begin to manifest themselves, and, when left without the restraints of enlightened intellect and the moral sense, invariably lead to disastrous consequences. The question then is, shall the young and inexperienced be left to the mere accidents of its condition, without an effort to give it sound principles to govern it, or without bringing some conservative influence to bear upon it? We think, with Mr. Walker, that it should not. Both philosophy and reason prove the danger of such a course. The circumstances which are connected with sexual vices cannot be wholly kept out of view. They meet the eye, or are suggested to the imagination, at almost every turn. A thousand scenes and incidents occur to excite the passions, if the mind is not fortified against their influence. Those who are fastidious, and believe that delicacy forbids all allusion to such subjects, will say, “Keep the youth in ignorance—conceal, if possible, everything from his view, that may excite the passions.” Still, there remain the constitutional susceptibilities; passion and appetite cannot be eradicated, and they will often be excited by incidents, which the most wakeful vigilance will not detect or suspect. The fact is, that long before parents are aware of it, the child has obtained knowledge on these subjects through many corrupt channels; and the associations first formed, are destined to exert, ever afterward, a powerful influence for evil. The early associations might, by judicious instruction on the part of parents, be of such character, as to throw around the youth a barrier almost impregnable. As to thetimeandmannerof imparting this instruction, it must be left to the wisdom and prudence of teachers and parents and, perhaps, as a general rule, it should be left wholly to the latter.
Much has been written on the nature of beauty, from the divine Plato, who dedicated one of his dialogues to this subject, to Lord Jeffries, the editor of the Edinburgh Review; who, in his celebrated article in the Supplement to the Encyclopedia Britannica, has excelled all previous efforts in its elucidation, and produced an essay, which will stand an imperishable monument of his taste, learning, and genius. It is not our design to enter upon a consideration of beauty in the abstract, or to attempt its analysis, as this has been done by our author in a very able, if not satisfactory manner. We take it, however, to denote that quality, or assemblage and union of qualities in the objects of our perception, whether material, intellectual, or moral, which we contemplate with emotions of pleasure; and we refer it to that internal sense, which is usually calledtaste. When it is asked, why a thing is beautiful, it is not always easy to find a satisfactory answer. We find beauty in color, in sound, in form, in motion, in everything. We have beauties of speech, beauties of thought, beauties in art, in nature, in the sciences, in actions, in affections, and in characters. Dr. Reid well asks, “In things so different, and so unlike, is there any quality, the same in all, which we may call by the name of beauty?” We shall not attempt to fathom this difficulty; indeed, it could not be done, without entering upon a metaphysical discussion, dry in detail, and uninteresting in result.
When we come to inquire in whatfemale beautyconsists, we shall find that there is something which enters into it, beside physical goodness. It is not a mere matter of flesh and blood; but color, form, expression, and grace, are all essential to its perfection. The two first have been called thebody, the two latter, thesoulof beauty—and without the soul, the body is but a mass of deformed and inanimate matter:—
“Mind, mind, alone! bear witness earth and heaven,The living fountains in itself containsOf beauteous and sublime. Here, hand-in-hand,Sit paramount the Graces. Here, enthroned,Celestial Venus, with divinest airs,Invites the soul to never-failing joy.”Akenside
Color and form are only beautiful, because they are expressive of health, delicacy, and softness, in the female sex. It has beenremarked, that expression has greater power than either beauty or form, as it is only the expression of the tender and kind passions that gives beauty; that all the cruel and unkind ones add to deformity, and that, on their account, good-nature may very properly be said to be the best feature, even in the finest face. Modesty, sensibility, and sweetness, blended together, so as either to enliven or correct each other, give almost as much attraction as the passions are capable of adding to a very pretty face. It is owing to this force of pleasingness, which attends all the kinder passions, that lovers not only seem, but really are, more beautiful to each other than to the rest of the world; and in their mutual presence and intercourse, says a French writer, there is a soul upon their countenances, which does not appear when they are absent from each other or even in company that lays a restraint upon their features. Indeed, it will appear that all the ingredients of beauty terminate in expression, and this may be, either perfection of the body, or the qualities of the mind. Dr. Reid indeed goes so far as to say, that beauty originally dwells in the moral and intellectual perfections of mind, and in its active powers. Thus beauty may be ascribed to all those qualities which are the natural objects of love and kind affections, as the moral virtues, innocence, gentleness, condescension, humanity, natural affections, and the whole train of soft and gentle virtues—qualities amiable in their nature, and on account of their moral worth. So also do intellectual talents excite our love and esteem of those who possess them; these are knowledge, good sense, wit, humor, cheerfulness, good taste, excellence in any of the fine arts—as music, painting, sculpture, embroidery, &c. Thus, for example, the beauty of good breeding is not originally in the external behavior in which it consists, but is derived from the qualities of mind which it expresses; for it has been well observed, that though there may be good breeding without the amiable qualities of mind, its beauty is still derived from what it naturally expresses.
Flaxman has truly said, that neither mind nor any one of its qualities or powers, is an immediate object of perception to men. These are perceived through the medium of material objects, on which their signatures are impressed. The signs of these qualities are immediately perceived by the senses, and by them reflected to the understanding; and we are apt to attribute to the sign, the beauty which is properly and originally in the thing signified. Thus, the invisible Creator hath stamped on his works signatures of his divine wisdom, power, and benignity, which are visible to allmen. The works of men in science, in the arts of taste, and in the mechanical arts, bear the signatures of those qualities of mind which were employed in their production. Their external behavior or conduct in life, expresses the good or bad qualities of their minds. In every species of animals we perceive, by visible signs, their instincts, appetites, affections, or sagacity; and even in the inanimate world, there are many things analogous to the qualities of mind; so that there is hardly anything belonging to mind which may not be represented by images taken from objects of sense; and, on the other hand, every object of sense is beautiful, by borrowing attire from attributes of the mind. Thus, the beauties of mind, though invisible in themselves, are perceived in the objects of sense, in which their beauty is impressed. Thus, also, in those qualities of sensible objects to which we ascribe beauty, we discover in them some relation to mind, and the greatest in those that are most beautiful. Every beauty in the vegetable creation, of which we can form any rational judgment, expresses some perfection in the object, or some wise contrivance in the author. In the animal kingdom we perceive superior beauties, resulting from life, sense, activity, various instincts and affections, and, in many cases, great sagacity; which are attributes of mind, and possess an original beauty. In their manner of life, we observe that they possess powers, outward form, and inward structure, exactly adapted to it; and the more perfectly any individual is fitted for its end and manner of life, the greater is its beauty. This, also, was manifestly Milton’s theory of beauty; for, in his unrivalled description of our first parents in Paradise, he derives their beauty from those expressions of moral and intellectual qualities which shone forth in their outward form and demeanor:—