A multitude of objects crowding into the mind at once, disturb the attention, and pass without making any impression, or any lasting impression. In a group, no single object makes the figure it would do apart, when it occupies the whole attention[52]. For the same reason, even a single object, when it divides the attention by the multiplicity of its parts, equals not, in strength of impression, a more simple object comprehended in a single view. Parts extremely complex must be considered in portions successively; and a number of impressions in succession, which cannot unite because not simultaneous, never touch the mind like one entire impression made as it were at one stroke. This justifies simplicity in works of art, as opposed to complicated circumstances and crowded ornaments. There is an additional reason for simplicity, in works that make an impression of dignity or elevation. The mind attached to beauties of a high rank, cannot descend to inferior beauties. And yet, notwithstanding these reasons, we find profuse decoration prevailing in works of art. But this is no argument against simplicity, For authors and architects who cannot reach the higher beauties, endeavour to supply their want of genius by dealing in those that are inferior. In all ages, the best writers and artists have been governed by a taste for simplicity.
These things premised, I proceed to examine the beauty of figure, as arising from the above-mentioned particulars, viz. regularity, uniformity, proportion, order, and simplicity. To exhaust this subject, would of itself require a large volume. I limit myself to a few cursory remarks, as matter for future disquisition. To inquire why an object, by means of the particulars mentioned, appears beautiful, would I am afraid be a vain attempt. It seems the most probable opinion, that the nature of man was originally framed with a relish for them, in order to answer wise and good purposes. The final causes have not hitherto been ascertained, though they are not probably beyond our reach. One thing is clear, that regularity, uniformity, order, and simplicity, contribute each of them to readiness of apprehension; and enable us to form more distinct images of objects, than can be done with the utmost attention where these particulars are not found. This final cause is, I acknowledge, too slight, to account satisfactorily for a taste that makes a figure so illustrious in the nature of man. That this branch of our constitution hath a purpose still more important, we have great reason to believe. With respect to proportion, I am still less successful. In several instances, accurate proportion is connected with utility. This in particular is the case of animals; for those that are the best proportioned, are the strongest and most active. But instances are still more numerous, where the proportions we relish the most, have no connection, so far as we see, with utility. Writers on architecture insist much upon the proportions of a column; and assign different proportions to the Doric, Ionic, and Corinthian. But no architect will maintain, that the most accurate proportions contribute more to use, than several that are less accurate and less agreeable. Neither will it be maintained, that the proportions assigned for the length breadth and height of rooms, tend to make them the more commodious. It appears then, so far as we can discover, that we have a taste for proportion independent altogether of utility. One thing indeed is certain, that any external object proportioned to our taste, is delightful. This furnishes a hint. May it not be thought a good final cause of proportion, that it contributes to our entertainment? The author of our nature has given many signal proofs, that this end is not below his care. And if so, why should we hesitate in assigning this as an additional final cause of regularity, and the other particulars above mentioned? We may be confirmed in this thought, by reflecting, that our taste, with respect to these, is not occasional or accidental, but uniform and universal, making an original branch of human nature.
One might fill a volume with the effects that are produced by the endless combinations of the principles of beauty. I have room only for a slight specimen, confined to the simplest figures. A circle and a square are each of them perfectly regular, being equally confined to a precise form, and admitting not the slightest variation. A square however is less beautiful than a circle, because it is less simple. A circle has parts as well as a square; but its parts not being distinct like those of a square, it makes one entire impression; whereas the attention is divided among the sides and angles of a square. The effect of simplicity may be illustrated by another example. A square, though not more regular than a hexagon or octagon, is more beautiful than either; for what other reason, than that a square is more simple, and the attention less divided? This reasoning will appear still more solid when we consider any regular polygon of very many sides; for of such figure the mind can never have any distinct perception. Simplicity thus contributes to beauty.
A square is more beautiful than a parallelogram. The former exceeds the latter in regularity and in uniformity of parts. But this holds with respect to intrinsic beauty only; for in many instances, utility comes in to cast the balance on the side of the parallelogram. This figure for the doors and windows of a dwelling-house, is preferred because of utility; and here we find the beauty of utility prevailing over that of regularity and uniformity.
A parallelogram again depends, for its beauty, on the proportion of its sides. The beauty is lost by a great inequality of sides. It is also lost, on the other hand, by the approximation toward equality. Proportion in this circumstance degenerates into imperfect uniformity; and the figure upon the whole appears an unsuccessful attempt toward a square.
An equilateral triangle yields not to a square in regularity nor in uniformity of parts, and it is more simple. But an equilateral triangle is less beautiful than a square, which must be owing to inferiority of order in the position of its parts. The sides of an equilateral triangle incline to each other in the same angle, which is the most perfect order they are susceptible of. But this order is obscure, and far from being so perfect as the parallelism of the sides of a square. Thus order contributes to the beauty of visible objects, not less than simplicity and regularity.
A parallelogram exceeds an equilateral triangle in the orderly disposition of its parts; but being inferior in uniformity and simplicity, it is less beautiful.
Uniformity is singular in one capital circumstance, that it is apt to disgust by excess. A number of things contrived for the same use, such as chairs spoons, &c. cannot be too uniform. But a scrupulous uniformity of parts in a large garden or field, is far from being agreeable. Uniformity among connected objects, belongs not to the present subject. It is handled in the chapter of uniformity and variety.
In all the works of nature, simplicity makes an illustrious figure. The works of the best artists are directed by it. Profuse ornament in painting, gardening, or architecture, as well as in dress and language, shows a mean or corrupted taste.
Poets, like painters, thus unskill’d to trace
The naked nature and the living grace,
With gold and jewels cover ev’ry part,
And hide with ornaments their want of art.
Pope’s Essay on criticism.