Beauty: Illustrated Chiefly by an Analysis and Classificatin of Beauty in Woman. Alexander Walker

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СКАЧАТЬ and in female dress.—Sect. IV., Chapter VI.

      The explanation of the nature of the picturesque, after the failure of Knight and Price in this respect.—Sect. I., Appendix to preceding chapters.

      The vindication of the doctrine of Hobbes, as to the cause of laughter; and exposition of the errors of Campbell and Beattie on this subject.—Sect. II., Appendix.

      The explanation of the cause of the pleasure received from representations exciting pity; and of the errors of Burke, &c., on that subject.—Sect. III., Appendix.

      The arrangement of anatomy and physiology, and the application of the principles of these sciences to the distinguishing and judging of beauty.—Chapter VII.

      The explanation of the difference in the beauty of the two sexes even in the same country.—Chapter IX.

      Various arguments establishing the standard of beauty in woman; and exposure of the sophistry of Knight, on this subject.—Chapter X.

      The showing, by the preceding arrangements, that the ancient temperaments are partial or complex views of anthropological phenomena.—Chapter XI., et seq.

      The description of the first species of beauty, or that of the locomotive system, and of its varieties, as founded on examination of structure.—Chapter XII.

      The description of the second species of beauty, or that of the nutritive system, and of its varieties, as founded on examination of structure.—Chapter XIII.

      The description of the third species of beauty, or that of the thinking system, and of its varieties, as founded on examination of structure.—Chapter XIV.

      The explanation of the cause of the deformity produced by the obliquely placed eyes of the Chinese, &c.—Chapter XV.

      The explanation of the mode in which the action of the muscles of the face becomes physiognomically expressive.—Ibid.

      The explanation of the physiognomical character of the different kinds of the hair.—Ibid.

      The explanation of the cause of the different effects of the same face, even in a state of repose.—Ibid.

      The indication of the faulty feature, and its gradual increase, even in beautiful faces.—Ibid.

      The exposition of the different organization of Greek and Roman heads.—Ibid.

      The explanation of the combinations and transitions of beauty.—Chapter XVI.

      The explanation of the numerical, geometrical, and harmonic methods of proportion, employed by the ancient Greeks.—Chapter XVII.

      Some remarks on character, expression, and detail in art.—Ibid.

      Some observations on the Greek forehead, actual as well as ideal.—Chapter XVIII.

      The explanation of the reason of the Greek ideal rule, as to the proportion between the forehead and the other parts of the face.—Ibid.

      The explanation of the reason of the Greek ideal rule, as to the profile of the forehead and nose, or as to the direction of the mesial line which they form, and the exposition of Winckelmann’s blunder respecting it.—Ibid.

      The explanation of the reason why the Greeks suppressed all great degrees of impassioned expression.—Ibid.

      The mere indication of the Greek idealizations as applied to the nutritive and locomotive systems, and the explanation of the latter in the Apollo.—Ibid.

      The replies to the objections of Burke and Alison, as to ideal beauty.—Ibid.

      The enunciation of the ideal in attitude.—Ibid.

      Various views as to the Venus de Medici, the conformation of the nose, and the connexion of odor with love, in animals and plants.—Chapter XIX.

      Some remarks on the Venus de Medici.—Ibid.

      The pointing out and explanation of various defects in beauty.—Chapter XX.

      The pointing out and explanation of various external indications of figure, beauty, mind, habits, and age.—Chapter XXI.

      The writer may possibly be mistaken as to the originality of one or two of these points; but, leaving the critical reader to deduct as many of these as it is in his power to do, enough of novelty would remain for the writer’s ambition, in this respect, if he had done no more than exposed the errors of Burke, Knight, Alison, &c., and established the true doctrine of beauty, in the first chapters—given an analysis and classification of beauty in woman, in the chapters which follow—and applied this to the fine arts, and solved the difficulty of Leonardo da Vinci, &c., in the last chapters.

      CHAPTER I.

      IMPORTANCE OF THE SUBJECT

      It is observed by Home, in his “Elements of Criticism,” that a perception of beauty in external objects is requisite to attach us to them; that it greatly promotes industry, by promoting a desire to possess things that are beautiful; and that it farther joins with utility, in prompting us to embellish our houses and enrich our fields. “These, however,” he says, “are but slight effects, compared with the connexions which are formed among individuals in society by means of this singular mechanism: the qualifications of the head and heart are undoubtedly the most solid and most permanent foundations of such connexions; but as external beauty lies more in view, and is more obvious to the bulk of mankind, than the qualities now mentioned, the sense of beauty possesses the more universal influence in forming these connexions; at any rate, it concurs in an eminent degree, with mental qualifications, to produce social intercourse, mutual good-will, and, consequently, mutual aid and support, which are the life of society.”

      Dr. Pritchard similarly observes, that “the perception of beauty is the chief principle in every country which directs men in their marriages.”

      Advancing a step farther, Sir Anthony Carlisle thinks a taste for beauty worthy of being cultivated. “Man,” he observes, “dwells with felicity even on ideal female attributes, and in imagination discovers beauties and perfections which solace his wearied hours, far beyond any other resource within the scope of human life. It cannot, then, be unwise to cultivate and refine this natural tendency, and to enhance, if possible, these charms of life. We increase and heighten all our pleasures by awakening and cultivating reflections which do not exist in a state of ignorance. Thus, the botanist perceives elegances in plants and flowers unknown and unfelt by the vulgar, and the landscape-painter revels in natural or imaginary scenery, with feelings which are unknown to the multitude. It would be absurd to pretend that the more exquisite and more deeply attractive beauty of woman is not worthy of more profound, as well as more universal cultivation.”

      Such are the observations of philosophical anthropologists, who, nevertheless, in these remarks, consider mere physical beauty independent of its connexion with corresponding functions or moral qualities.

      If, however, the external beauty of woman, calculated as it is to flatter the most experienced eye, limited its effect to a local impression, to an optical enjoyment, the sentiment of beauty would be far from having all its extent and value. Happily, ideas of goodness, of suitableness, of sympathy, of progressive perfection, and of mutual happiness, are, by an intimate and inevitable association, connected with the first impression made by the sight of beauty.

      The foundation of this feeling is well expressed by Dr. Pritchard, in his observation that “the idea of beauty СКАЧАТЬ