One more exquisite illustration of subtle gradation in the human form divine may be cited from Winckelmann:—
“The soul, though a simple existence, brings forth at once, and in an instant, many different ideas; so it is with the beautiful youthful outline, which appears simple, and yet at the same time has infinitely different variations, and that soft tapering which is difficult of attainment in a column, is still more so in the diverse forms of the youthful body. Among the innumerable kinds of columns in Rome some appear pre-eminently elegant on account of this very tapering; of these I have particularly noted two of granite, which I am always studying anew: just so rare is a perfect form, even in the most beautiful youth, which has a stationary point in our sex still less than in the female.”
(c) Curvature.—"That all forms of acknowledged beauty are composed exclusively of curves will," Mr. Ruskin believes, “be at once allowed; but that which there will be need more especially to prove, is the subtility and constancy of curvature in all natural forms whatsoever. I believe that, except in crystals, in certain mountain forms admitted for the sake of sublimity or contrast (as in the slope of debris), in rays of light, in the levels of calm water and alluvial land, and in some few organic developments, there are no lines or surfaces of nature without curvature, though, as we before saw in clouds, more especially in their under lines towards the horizon, and in vast and extended plains, right lines are often suggested which are not actual. Without these we should not be sensible of the value of contrasting curves; and while, therefore, for the most part, the eye is fed in natural forms with a grace of curvature which no hand nor instrument can follow, other means are provided to give beauty to those surfaces which are admitted for contrast, as in water by its reflection of the gradations which it possesses not itself.”
In a footnote to the last edition of the Modern Painters he adds regarding the apparent exceptions named: “Crystals are indeed subject to rectilinear limitations, but their real surfaces are continually curved; the level of calm water is only right lined when it is shoreless.”
On the other hand, “Generally in all ruin and disease, and interference of one order of being with another (as in the cattle line of park trees), the curves vanish, and violently opposed or broken and unmeaning lines take their place.” I feel tempted to cite another most admirable passage on curvature throughout Nature—even where it is least looked for, and the untrained eye cannot see it—in the shattered walls and crests of mountains which “seem to rise in a gloomy contrast with the soft waves of bank and wood beneath.” But it is too long to quote, and I can only advise the reader most earnestly to look it up in chapter xiv. vol. iv.
“Straight lines,” Professor Bain observes, “are rendered artistic only by associations of power, regularity, fitness, etc.” “In some situations straight lines are æsthetic.... In the human figure there underlies the curved outline a certain element of rigidity and straightness, indicating strength in the supporting limbs and spine. Whenever firmness is required, there must be a solid structure, and straightness of form is a frequent accompaniment of solidity. The straight nose and the flat brow are subsidiary to the movement and the stability of the face.”
Yet even our straight limbs follow in their motions the law of curvature. And to this fact that they move more easily and naturally in a curved than in a straight line, which requires laborious adjustment, Bain traces part of our superior pleasure in rounded lines.
What infinite subtlety and variety Curvature is capable of is vividly brought before the eyes by Winckelmann: “The forms of a beautiful body are determined by lines the centre of which is constantly changing, and which, if continued, would never describe circles. They are, consequently, more simple, but also more complex, than a circle, which, however large or small it may be, always has the same centre, and either includes others or is included in others. This diversity was sought after by the Greeks in works of all kinds; and their discernment of its beauty led them to introduce the same system even into the form of their utensils and vases, whose easy and elegant outline is drawn after the same rule, that is, by a line which must be found by means of several circles, for all these works have an elliptical figure, and herein consists their beauty. The greater unity there is in the junction of the forms, and in the flowing of one out of another, so much the greater is the beauty of the whole.”
Masculine and Feminine Beauty.—The universality of curvature as a form of beautiful objects throughout nature and art is of importance in helping us to determine the question which is the more beautiful form, a perfect man or a perfect woman—an Apollo or a Venus? A Venus, no doubt. In those qualities which are subsumed under the terms of the sublime or the characteristic—in strength, manly dignity, intellectual power, majesty—the masculine type, no doubt, is superior to the feminine. But in Beauty proper—in the roundness and delicacy of contours, in the smoothness of complexion and its subtle gradations of colour, in the symmetrical roundness and lustrous expressiveness of the eyes—the feminine type is pre-eminent.
“Woman,” says Professor Kollmann, “is smaller, more delicate, but also softer and more graceful (schwungvoller) in form, in her breasts, hips, thighs, and calves. No line on her body is short and sharply angular; they all swell, or vault themselves in a gentle curve.... The neck and the rounded shoulders are connected by gracefully curved lines, whereas a man’s neck is placed more at a right angle to the more straight and angular shoulders.... The hair is softer, the skin more tender and transparent. All the forms are more covered over with adipose tissue, and connected by those gradual transitions which produce the gently rounded outlines; whereas in a man everything—muscles, sinews, blood-vessels, bones—is more conspicuous.”