Beauty: Illustrated Chiefly by an Analysis and Classificatin of Beauty in Woman. Alexander Walker
we proceed to a more fundamental and difficult inquiry.
CHAPTER VI.
THE ELEMENTS OF BEAUTY. 10
On the subject of the preceding chapter, even the reasonings of Hume appear to me to be of too vague and indefinite a kind. It requires the more minute scrutiny into which I shall now enter, in order to place it upon a deeper and more scientific foundation. If I can here show that, in the material qualities of the objects of nature and art, there exist elements of beauty equally invariable in themselves and in the kind of effect they produce upon the mind, it is evident there can be no farther dispute about a standard of beauty.
Many attempts have been made to determine the material elements of beauty, by Hogarth, Home, and others. All have more or less failed, from not observing that these elements are modified, varied, and complicated, as we advance from the most simple to the most complex class of natural beings, or of the arts which relate to these respectively. Many partial views of perfect truth and great interest have been taken, and by every one of these it will be my duty here to profit: but, from the failure just pointed out, no philosophical and systematic doctrine of beauty, ascending from its origin in elements through its higher combinations, has ever been attained by any of the numerous, deep, acute, and elegant thinkers who have devoted their time to this subject, as the foundation of taste and of the fine or intellectual arts.
Profiting, as I ought to do, by the partial views of these philosophers, I pretend here only to take one larger view—to analyze, to generalize, to systematize, the materials which they present to me.
In the hope of accomplishing this, I shall now endeavor successively to trace the elements of beauty which belong respectively to inanimate, living, and thinking beings, and to the useful, ornamental, and intellectual arts which have a reference to these, the neglect of all which I have described as the fundamental cause of previous failure.
Again, I repeat, it is to this analysis and generalization alone, and to the systemization founded upon it, that I make any pretence. The materials have long been presented by all the great writers on the subject: they have only left them in confusion, and without conclusion. I shall now proceed to employ them.
SECTION I.
ELEMENTS OF BEAUTY IN INANIMATE BEINGS
Though Burke did not accurately trace the elements of beauty in any one class of the objects of nature or art, he yet states a preliminary truth on this subject so well, that I here quote it: “It would be absurd,” he observes, “to say that all things affect us by association only; since some things must have been originally and naturally agreeable or disagreeable, from which the others derive their associated powers; and it would be, I fancy, to little purpose to look for the cause of our passions in association, until we fail of it in the natural properties of things.”
Home, advancing farther, says: “If a tree be beautiful by means of its color, its figure, its size, its motion, it is in reality possessed of so many different beauties, which ought to be examined separately, in order to have a clear notion of the whole.
“When any body is viewed as a whole, the beauty of its figure arises from regularity11 and simplicity; and viewing the parts with relation to each other, from uniformity12, proportion, and order.”
I will here only observe that these are the qualities, as will speedily appear, which Burke should have set down as the fundamental and first characteristics of beauty, instead of relative littleness, which belongs not to beauty generally, but only to the minor or subordinate beauty.
Even Home, having arrived thus far, says: “To inquire why an object, by means of the particulars mentioned, appears beautiful, would, I am afraid, be a vain attempt.”
But he truly adds: “One thing is clear, that regularity, uniformity, order, and simplicity, contribute each of them to readiness of apprehension, and enable us to form more distinct images of objects than can be done, with the utmost attention, where these particulars are not found.” And he subjoins: “This final cause is, I acknowledge, too slight, to account satisfactorily for a taste that makes a figure so illustrious in the nature of man; and that this branch of our constitution has a purpose still more important, we have great reason to believe.”
Now had Home seen that the characteristics of general beauty always are, with regard to the object, accordant and agreeable relations, the importance of the qualities he has just enumerated would have been evident; for, without them, these characteristics of the object could not exist: simplicity, regularity, uniformity, order, &c., are the very elements of accordant and agreeable relations. This is in reality the still more important purpose in which Home believed, and to which the readiness of apprehension he now alludes to eminently contributes.
As to simplicity, he observes, that “a multitude of objects crowding into the mind at once, disturb the attention, and pass without making any impression, or any lasting impression; and in a group, no single object makes the figure it would do apart, when it occupies the whole attention. For the same reason, even a single object, when it divides the attention by the multiplicity of its parts, equals not, in strength of impression, a more simple object comprehended in a single view: parts extremely complex must be considered in portions successively; and a number of impressions in succession, which cannot unite because not simultaneous, never touch the mind like one entire impression made as it were at one stroke.
“A square is less beautiful than a circle, because it is less simple: a circle has parts as well as a square; but its parts not being distinct like those of a square, it makes one entire impression; whereas, the attention is divided among the sides and angles of a square.... A square, though not more regular than a hexagon or octagon, is more beautiful than either, because a square is more simple, and the attention less divided.
“Simplicity thus contributes to beauty.”
By regularity is meant that circumstance in a figure by which we perceive it to be formed according to a certain rule. Thus, a circle, a square, a parallelogram, or triangle, pleases by its regularity.
“A square,” says Home—(who here furnishes the best materials to a more general view, because he most frequently assigns physical causes, and whom, with some abbreviation, I therefore continue to quote)—“a square is more beautiful than a parallelogram, because the former exceeds the latter in regularity and in uniformity of parts. This is true with respect to intrinsic beauty only; for in many instances, utility comes in to cast the balance on the side of the parallelogram: this figure for the doors and windows of a dwelling-house, is preferred because of utility; and here we find the beauty of utility prevailing over that of regularity and uniformity.”
Thus regularity and uniformity contribute to intrinsic beauty.
“A parallelogram, again, depends for its beauty on the proportion [or relation of quantity] of its sides. Its beauty is lost by a great inequality of these sides: it is also lost by their approximating toward equality; for proportion there degenerates into imperfect uniformity, and the figure appears an unsuccessful attempt toward a square.”
Thus proportion contributes to beauty.
“An equilateral triangle yields not to a square in regularity nor in uniformity of parts, and it is more simple. Its inferiority in beauty is at least partly owing to inferiority of order in the position of its parts: the sides of an equilateral triangle incline to each other in the same angle, which is the most perfect order they are susceptible of; but this order is obscure, and far from being so perfect as the parallelism of the sides of a square.”
Thus order contributes to the beauty of visible objects.
“A mountain, it may be objected, is an agreeable object, without so much as the appearance of regularity; and a chain of mountains is still more agreeable, without being arranged in any order. But though regularity, uniformity, and order, are causes of beauty, there are also other causes of it, as color; and when we pass from small to great objects, and consider grandeur instead of beauty, very little regularity is required.”
It
To the reader unaccustomed to inquiries of this kind, it may save trouble to peruse first the brief Summary of the contents of this important chapter, beginning in page 120.
Regularity expresses the similarity of parts considered as constituting a whole; and uniformity, the similarity of parts considered separately.
Regularity expresses the similarity of parts considered as constituting a whole; and uniformity, the similarity of parts considered separately.