Thus simply are the diagrams of the general proportions of the human figure, as viewed in front and in profile, constructed; and [Plate XI.] gives the contour in both points of view, as composed entirely of the curvilinear figures of (¹⁄₂), (¹⁄₃), (¹⁄₄), (¹⁄₅), and (¹⁄₆).
Further detail here would be out of place, and I shall therefore refer those who require it to the Appendix, or the more elaborate works to which I have already referred.
The beauty derived from proportion, imparted by the system here pointed out, and from a contour of curves derived from the same harmonic angles, is not confined to the human figure, but is found in various minor degrees of perfection in all the organic forms of nature, whether animate or inanimate, of which I have in other works given many examples.[21]
THE SCIENCE OF BEAUTY, AS DEVELOPED IN COLOURS.
There is not amongst the various phenomena of nature one that more readily excites our admiration, or makes on the mind a more vivid impression of the order, variety, and harmonious beauty of the creation, than that of colour. On the general landscape this phenomenon is displayed in the production of that species of harmony in which colours are so variously blended, and in which they are by light, shade, and distance modified in such an infinity of gradation and hue. Although genius is continually struggling, with but partial success, to imitate those effects, yet, through the Divine beneficence, all whose organs of sight are in an ordinary degree of perfection can appreciate and enjoy them. In winter this pleasure is often to a certain extent withdrawn, when the colourless snow alone clothes the surface of the earth. But this is only a pause in the general harmony, which, as the spring returns, addresses itself the more pleasingly to our perception in its vernal melody, which, gradually resolving itself into the full rich hues of luxuriant beauty exhibited in the foliage and flowers of summer, subsequently rises into the more vivid and powerful harmonies of autumn’s colouring. Thus the eye is prepared again to enjoy that rest which such exciting causes may be said to have rendered necessary.
When we pass from the general colouring of nature to that of particular objects, we are again wrapt in wonder and admiration by the beauty and harmony which so constantly, and in such infinite variety, present themselves to our view, and which are so often found combined in the most minute objects. And the systematic order and uniformity perceptible amidst this endless variety in the colouring of animate and inanimate nature is thus another characteristic of beauty equally prevalent throughout creation.
By this uniformity in colour, various species of animals are often distinguished; and in each individual of most of these species, how much is this beauty enhanced when the uniformity prevails in the resemblance of their lateral halves! The human countenance exemplifies this in a striking manner; the slightest variety of colour between one and another of the double parts is at once destructive of its symmetrical beauty. Many of the lower animals, whether inhabitants of the earth, the air, or the water, owe much of their beauty to this kind of uniformity in the colour of the furs, feathers, scales, or shells, with which they are clothed.
In the vegetable kingdom, we find a great degree of uniformity of colour in the leaves, flowers, and fruit of the same plant, combined with all the harmonious beauty of variety which a little careful examination develops.