This is the common cant of every weak man at loss for a reason. Now, it is not by any “habitual association” with “our limbs and organs serving us in pairs,” that we are “taught to consider this uniformity indispensable to beauty,” but because, independent of all association, we could not conveniently walk upon one leg, or, indeed, on any unequal number of legs: and there being two sides in the moving organs, there are necessarily two in the sensitive organs, which are mere portions of the same general system. Thus it is locomotion to be performed that renders “a strict parity, or relative equality, in the correspondent limbs and features of a man or a horse” absolutely essential to beauty; and it is the absence of locomotion which renders it utterly worthless, and therefore very rare, in “the roots and branches of a tree.”
In animals, proportion is not less essential than symmetry. It is indeed the second character of this kind of beauty. As this part of the subject has been perfectly well treated by Mr. Alison, I need only quote what he has said:—
“It is this expression of fitness which is, I apprehend, the source of the beauty of what is strictly and properly called proportion in the parts of the human form.
“We expect a different form, and a different conformation of limbs, in a running footman and a waterman, in a wrestler and a racing groom, in a shepherd and a sailor, &c.
“They who are conversant in the productions of the fine arts, must have equally observed, that the forms and proportions of features, which the sculptor and the painter have given to their works, are very different, according to the nature of the character they represent, and the emotion they wish to excite. The form or proportions of the features of Jove are different from those of Hercules; those of Apollo, from those of Ganymede; those of the Fawn, from those of the Gladiator. In female beauty, the form and proportions in the features of Juno are very different from those of Venus; those of Minerva, from those of Diana; those of Niobe, from those of the Graces. All, however, are beautiful; because all are adapted with exquisite taste to the characters they wish the countenance to express.”
In “the Hercules and the Antinous, the Jupiter and the Apollo, we find that not only the proportions of the form, but those of every limb, are different; and that the pleasure we feel in these proportions arises from their exquisite fitness for the physical ends which the artists were consulting.
“The illustration, however, may be made still more precise; for, even in the same countenance, and in the same hour, the same form of feature may be beautiful or otherwise.”
SECTION IV.
ELEMENTS OF BEAUTY AS EMPLOYED IN OBJECTS OF ART.
I divide the arts into the useful, the ornamental, and the intellectual, commonly called the fine arts; and I shall endeavor to show, that the objects of each of these are characterized by a peculiar kind of beauty, corresponding to one of those already described.
I shall endeavor to show that the objects of the useful arts are characterized by the simple geometrical forms which belong to inanimate beings; that those of the ornamental arts are characterized by the delicate, bending, varied, and contrasted forms of living beings; and that those of the intellectual arts are, in their highest efforts, characterized chiefly by thinking forms, as in gesture, sculpture, painting, or by functions of mind actually exercised, in oratory, poetry, music.