“In the personification which we naturally give to all inanimate objects which are susceptible of movement, we may easily perceive the influence of the same association. We speak commonly, for instance, of the graceful motions of trees, and of the graceful movements of a river. It is never, however, when these motions are violent or extreme, that we apply to them the term of grace. It is the gentle waving of the tree in slow and measured cadence which is graceful, not the tossing of its branches amid the storm. It is the slow and easy winding which is graceful in the movements of the river, and not the burst of the cataract, or the fury of the torrent.
“It is only in the perfection of the human system, in the age when the form has assumed all its powers, and the mind is awake to the consciousness of all the capacities it possesses, and the lofty obligations they impose, that the reign of physical grace commences; and that the form is capable of expressing, under the dominion of every passion or emotion, the high and habitual superiority which it possesses, either to the allurements of pleasure or the apprehensions of pain. It is this age, accordingly, which the artists of antiquity have uniformly represented, when they sought to display the perfection of grace, and when they succeeded in leaving their compositions as models of this perfection to every succeeding age.”
It is evidently the UNION of all that is good in the varieties now described which renders beauty, in the thinking system, perfect.
This is well illustrated in the Minerva of the Giustiniani gallery, which, in this respect, is scarcely the less valuable because it is draped, for it is the head that ever bears the greatest impress of intellectuality.
This union is by no means perfect in the English female head, although, from the considerable development of the forehead and the moderate one of the backhead, the general form of that head is beautiful. As to the French female head, a Frenchman, writing under the name of Count Stendhal, scruples not to say: “The form of the head in Paris is ugly; the cranium approaches to that of the ape; and this occasions the women to have the appearance of age very early in life.” The women of Paris differ not, in this respect, from those of France generally. Nearly all have the character here described.
It is under this species that the nervous temperament falls, which is constituted by great sensibility and corresponding mobility, and therefore belongs to the first and the last of those varieties; a temperament chiefly to be found among women.
This temperament scarcely exists in the athletic, is weak in the phlegmatic, is moderate in the sanguine, and is rather active in the bilious.
It is characterized by the smallness and the emaciation of the muscles, the quickness and intensity of the sensations, and the suddenness and fickleness of the determinations.