The traits of Boccaccio's ideal of feminine beauty, a voluptuous ideal as compared with the ascetic mediæval ideal which had previously prevailed, together with the characteristics of the very beautiful and almost classic garments in which he arrayed women, have been brought together by Hortis (Studi sulle opere Latine del Boccaccio, 1879, pp. 70 et seq.). Boccaccio admired fair and abundant wavy hair, dark and delicate eyebrows, and brown or even black eyes. It was not until some centuries later, as Hortis remarks, that Boccaccio's ideal woman was embodied by the painter in the canvases of Titian.
The first precise description of a famous beautiful woman was written by Niphus in the sixteenth century in his De Pulchro et Amore, which is regarded as the first modern treatise on æsthetics. The lady described is Joan of Aragon, the greatest beauty of her time, whose portrait by Raphael (or more probably Giulio Romano) is in the Louvre. Niphus, who was the philosopher of the pontifical court and the friend of Leo X, thus describes this princess, whom, as a physician, he had opportunities of observing accurately: "She is of medium stature, straight, and elegant, and possesses the grace which can only be imparted by an assemblage of characteristics which are individually faultless. She is neither fat nor bony, but succulent; her complexion is not pale, but white tinged with rose; her long hair is golden; her ears are small and in proportion with the size of her mouth. Her brown eyebrows are semicircular, not too bushy, and the individual hairs short. Her eyes are blue (oæsius), brighter than stars, radiant with grace and gaiety beneath the dark-brown eyelashes, which are well spaced and not too long. The nose, symmetrical and of medium size, descends perpendicularly from between the eyebrows. The little valley separating the nose from the upper lip is divinely proportioned. The mouth, inclined to be rather small, is always stirred by a sweet smile; the rather thick lips are made of honey and coral. The teeth are small, polished as ivory, and symmetrically ranged, and the breath has the odor of the sweetest perfumes. Her voice is that of a goddess. The chin is divided by a dimple; the whole face approximates to a virile rotundity. The straight long neck, white and full, rises gracefully from the shoulders. On the ample bosom, revealing no indication of the bones, arise the rounded breasts, of equal and fitting size, and exhaling the perfume of the peaches they resemble. The rather plump hands, on the back like snow, on the palm like ivory, are exactly the length of the face; the full and rounded fingers are long and terminating in round, curved nails of soft color. The chest as a whole has the form of a pear, reversed, but a little compressed, and the base attached to the neck in a delightfully well-proportioned manner. The belly, the flanks, and the secret parts are worthy of the chest; the hips are large and rounded; the thighs, the legs, and the arms are in just proportion. The breadth of the shoulders is also in the most perfect relation to the dimensions of the other parts of the body; the feet, of medium length, terminate in beautifully arranged toes." (Houdoy reproduces this passage in La Beauté des Femmes; cf. also Stratz, Die Schönheit des Weiblichen Körpers, Chapter III.)
Gabriel de Minut, who published in 1587 a treatise of no very great importance, De la Beauté, also wrote under the title of La Paulegraphie a very elaborate description, covering sixty pages, of Paule de Viguier, a Gascon lady of good family and virtuous life living at Toulouse. Minut was her devoted admirer and addressed an affectionate poem to her just before his death. She was seventy years of age when he wrote the elaborate account of her beauty. She had blue eyes and fair hair, though belonging to one of the darkest parts of France.
Ploss and Bartels (Das Weib, bd. 1, sec. 3) have independently brought together a number of passages from the writers of many countries describing their ideals of beauty. On this collection I have not drawn.
When we survey broadly the ideals of feminine beauty set down by the peoples of many lands, it is interesting to note that they all contain many features which appeal to the æsthetic taste of the modern European, and many of them, indeed, contain no features which obviously clash with his canons of taste. It may even be said that the ideals of some savages affect us more sympathetically than some of the ideals of our own mediæval ancestors. As a matter of fact, European travelers in all parts of the world have met with women who were gracious and pleasant to look on, and not seldom even in the strict sense beautiful, from the standpoint of European standards. Such individuals have been found even among those races with the greatest notoriety for ugliness.
Even among so primitive and remote a people as the Australians beauty in the European sense is sometimes found. "I have on two occasions," Lumholtz states, "seen what might be called beauties among the women of western Queensland. Their hands were small, their feet neat and well shaped, with so high an instep that one asked oneself involuntarily where in the world they had acquired this aristocratic mark of beauty. Their figure was above criticism, and their skin, as is usually the case among the young women, was as soft as velvet. When these black daughters of Eve smiled and showed their beautiful white teeth, and when their eyes peeped coquettishly from beneath the curly hair which hung in quite the modern fashion down their foreheads," Lumholtz realized that even here women could exert the influence ascribed by Goethe to women generally. (C. Lumholtz, Among Cannibals, p. 132.) Much has, again, been written about the beauty of the American Indians. See, e.g., an article by Dr. Shufeldt, "Beauty from an Indian's Point of View," Cosmopolitan Magazine, April, 1895. Among the Seminole Indians, especially, it is said that types of handsome and comely women are not uncommon. (Clay MacCauley, "Seminole Indians of Florida," Fifth Annual Report of the Bureau of Ethnology, 1883-1884, pp. 493 et seq.)
There is much even in the negress which appeals to the European as beautiful. "I have met many negresses," remarks Castellani (Les Femmes au Congo, p. 2), "who could say proudly in the words of the Song of Songs, 'I am black, but comely.' Many of our peasant women have neither the same grace nor the same delicate skin as some natives of Cassai or Songha. As to color, I have seen on the African continent creatures of pale gold or even red copper whose fine and satiny skin rivals the most delicate white skins; one may, indeed, find beauties among women of the darkest ebony." He adds that, on the whole, there is no comparison with white women, and that the negress soon becomes hideous.
The very numerous quotations from travelers concerning the women of all lands quoted by Ploss and Bartels (Das Weib, seventh edition, bd. i, pp. 88-106) amply suffice to show how frequently some degree of beauty is found even among the lowest human races. Cf., also, Mantegazza's survey of the women of different races from this point of view, Fisiologia della Donna, Cap. IV.
The fact that the modern European, whose culture may be supposed to have made him especially sensitive to æsthetic beauty, is yet able to find beauty among even the women of savage races serves to illustrate the statement already made that, whatever modifying influences may have to be admitted, beauty is to a large extent an objective matter. The existence of this objective element in beauty is confirmed by the fact that it is sometimes found that the men of the lower races admire European women more than women of their own race. There is reason to believe that it is among the more intelligent men of lower race—that is to say those whose æsthetic feelings are more developed—that the admiration for white women is most likely to be found.