PERSONAL BEAUTY
Rarer even than feminine culture, Personal Beauty appears to have been throughout the Middle Ages. Most of the portraits of women and men, as well as the ideal heads and figures in paintings and sculpture, are repulsively ugly and inexpressive of higher traits. The general causes of mediæval ugliness—neglect of personal hygiene and sanitary measures, hard manual labour, prevention of love-matches, etc.—will be considered elsewhere. In this place only one cause need be alluded to. The old Church Fathers, it is well known, were not only unæsthetic but positively anti-æsthetic. Everything pleasing to the senses was denounced by them, especially the physical beauty of women, which they looked upon as a special gift of the devil. Such an attitude on the part of the leading social class could hardly tend to encourage the cultivation of personal charms; and during the trials for witchcraft special efforts appear to have even been made to eliminate beauty forcibly; for the mere possession of unusual beauty sometimes sufficed to bring a poor girl to trial, outrage, torture, and death.
It may have been due partly to a natural reaction against asceticism, partly to the rarity of spiritual beauty, that the mediæval poets in enumerating the charms of their mistresses, confine themselves almost exclusively to their physical features. Professor Scherr, after quoting Ariosto’s description of his heroine Alcina in Orlando Furioso (vii. 11, seq.), for comparison with similar efforts of German poets, observes: “It is very remarkable that, as in this female portrait sketched by Ariosto, so with mediæval poets in general, including those of Germany, the principal accent is placed on the bodily charms of the women. Almost all sketches of this kind are purely material. Intellectual beauty, as expressed in the features, is barely mentioned. These old romanticists were much more sensual than modern writers would have us believe.”