Page:Willich, A. F. M. - The Domestic Encyclopædia (Vol. 1, 1802).djvu/236

2o3] BE A BEAUTY, in its literal signifi- cation, is a term applied to objects of sight, but often figuratively, though improperly, used to ex- press the effect, produced by the perception of other senses, such as beautiful music, &c. Plato gives but an obscure de- finition of beauty, when he says, that there are four characteristics ot the truly beautiful ; namely, uni- versality, supremacy .sameness, and immutability: his supreme beauty, therefore, ought to possess .'• ■power, and goodness. Hogarth, who was both an artist and a pliilosopher, lays down the following principles which con- stitute elegance and beauty -.fitness, ' '.->;, uniformity (as correspond- ing to a certain end, or purpose), ■• intricacy, and quantity : ■ — the explanation would be too tedious. According to Burke, beauty is not the creature of reason, but a merely sensible quality, acting me- chanically upon the human mind, by sensation. His beauties, con- sequently, must possess; 1. Com- parative Smallness: 2. Smooth 3. I'arlety in the conformation of parts ; 4. These parts must not be angular, but melted, as it were, into each other ; 5. A delicate frame, with an appearance of agi- lity, rather than strength ; 6. Co- lours clear and bright, but not very strong and glaring j or, 7. M the latter be the predominant colours, they ought to de diversified with others. Prof. Kant's definition is per- haps more satisfactory, though it can only be clearly understood by apposite comparative illustrations : he says, " Beauty is the n conformation of an object, of Na- ture or Art, in which the mind., in- BE A ftiitively, perceives this conforma- tion, without reflecting upon its ultimate design or purpose." — The beautiful as well as the sublime, pro- duces a pleasing effect, but in a v ery different manner : thus, a view of mountains, with their summits covered with snow, or enveloped in clouds ; a description of a violent storm, or Mil ton's picture of the infernal regions, affords a satisfac- tion mingled with terror : on the other hand, a prospect of flowery meadows, valleys inter ected with serpentine rivulets, and enlivened by flocks ; the description of Ely- sium by Virgil, or of the enchant- ing Cestus by Homer, afford both satisfaction and pleasure. But, in order to feel the impression in its full extent, we must first be sus- ceptible of the sublime, before we can enjoy the beautiful. — Lofty oaks, and the solitary shades of the grove, are suh lime; flowers, young hedges, and trees in a flourishing state, are beautiful; the starry heavens and the obscurity of night, are sublime; the brightness or se- renity of day, is beautiful. Personal beauty may be reduced to four heads : colour, form, ex- . 11, and grace. Colours please by opposition, and it is in the face that they are more diversified and exposed. The reason why they please, arises less from their natural liveliness, and their being properly blended, than from the idea they present to the mind, of the perfect health of the object. The beauty of form includes the symmetry of the whole body, even to the turn of the £ye-brow, or graceful flow of the hair. Hence, an union and har- mony of all parts of the body, is the general cause of beauty ; and, while the peculiar beauty of the female form is delicacy and softness, that of