dered, or as related to others; and we could call in thofe natural objects, for whofe beauty we have no voucher but the fenfe, to this happy standard, and confirm the voice of our paffions by the determination of our reafon. But fince we have not this help, let us fee whether proportion can in any fense be confidered as the cause of beauty, as hath been fo generally, and by fome fo confidently affirmed. If proportion be one of the conftituents of beauty, it must derive that power either from fome natural properties inherent in certain measures, which operate mechanically; from the operation of cuftom; or from the fitnefs which fome measures have to answer fome particular ends of conveniency. Our bufinefs therefore is to enquire, whether the parts of those objects, which are found beautiful in the vegetable or animal kingdoms, are constantly so formed according to fuch certain measures, as may ferve to fatisfy us that their beauty results from those measures on the principle of a natural mechanical caufe; or from custom; or, in fine, from their fitness for any determinate purposes. I intend to examine this point under each of thefe heads in their order. But before I proceed further, I hope it will not be thought amifs, if I lay down the rules which governed me in this enquiry, and which have misled me in it, if I have gone aftray. 1. If two bodies produce the fame or a fimilar effect on the mind, and on examination they are found to agree in fome of their properties, and to differ in others; the common effect is to be attributed to the properties in which they agree, and not to those in which they differ. 2. Not to account for the effect of a natural object from the effect of an artificial object. 3. Not to account for the effect of any natural object from a conclufion of our reafon concerning its ufes, if a natural cause may be affigned. 4. Not to admit any determinate quantity, or any relation of quantity, as the cause of a certain effect, if the

effect

effect is produced by different or oppofite measures and relations; or if these measures and relations may exist, and yet the effect may not be produced. These are the rules which I have chiefly followed, whilst I examined into the power of proportion confidered as a natural caufe; and thefe, if he thinks them juft, I request the reader to carry with him throughout the following difcuffion; whilst we enquire in the first place, in what things we find this quality of beauty; next, to fee whether in these we can find any affignable proportions, in fuch a manner as ought to convince us that our idea of beauty refults from them. We fhall confider this pleasing power, as it appears in vegetables, in the inferior animals, and in man. Turning our eyes to the vegetable creation, we find nothing there fo beautiful as flowers; but flowers are almost of every fort of shape, and of every fort of difpofition; they are turned and fashioned into an infinite variety of forms; and from thefe forms botanists have given them their names, which are almost as various. What proportion do we discover between the stalks and the leaves of flowers, or between the leaves and the piftils? How does the flender stalk of the rose agree with the bulky head under which it bends? but the rofe is a beautiful flower; and can we undertake to fay that it does not owe a great deal of its beauty even to that difproportion? the rose is a large flower, yet it grows upon a small shrub; the flower of the apple is very small, and grows upon a large tree; yet the rofe and the apple bloffom are both beautiful, and the plants that bear them are most engagingly attired, notwithstanding this difproportion. What by general confent is allowed to be a more beautiful object than an orange tree, flourishing at once with its leaves, its bloffoms, and its fruit? but it is in vain that we fearch here for any proportion between the height, the breadth, or any thing else concerning

X

cerning the dimenfions of the whole, or concerning the relation of the particular parts to each other. I grant that we may obferve in many flowers, fomething of a regular figure, and of a methodical difpofition of the leaves. The rose has such a figure and fuch a disposition of its petals; but in an oblique view, when this figure is in a good measure loft, and the order of the leaves confounded, it yet retains its beauty; the rofe is even more beautiful before it is full blown; and the bud, before this exact figure is formed; and this is not the only inftance wherein method and exactnefs, the foul of proportion, are found rather prejudicial than serviceable to the cause of beauty.

SE C T. III.

PROPORTION NOT THE CAUSE OF BEAUTY IN ANIMALS.

THA

HAT proportion has but a small share in the formation of beauty, is full as evident among animals. Here the greatest variety of fhapes, and difpofitions of parts, are well fitted to excite this idea. The fwan, confeffedly a beautiful bird, has a neck longer than the rest of his body, and but a very short tail: is this a beautiful proportion? we must allow that it is. But then what fhall we fay to the peacock, who has comparatively but a short neck, with a tail longer than the neck and the reft of the body taken together? How many birds are there that vary infinitely from each of these ftandards, and from every other which you can fix, with proportions different, and often directly oppofite to each other! and yet many of these birds are extremely beautiful; when upon confidering them we find nothing in any one part that might determine us, à priori, to fay what the others

ought

ought to be, nor indeed to guefs any thing about them, but what experience might shew to be full of disappointment and mistake. And with regard to the colours either of birds or flowers, for there is fomething fimilar in the colouring of both, whether they are confidered in their extenfion or gradation, there is nothing of proportion to be obferved. Some are of but one fingle colour; others have all the colours of the rainbow; fome are of the primary colours, others are of the mixt; in fhort, an attentive obferver may foon conclude, that there is as little of proportion in the colouring as in the fhapes of these objects. Turn next to beafts; examine the head of a beautiful horfe; find what proportion that bears to his body, and to his limbs, and what relations these have to each other; and when you have settled these proportions as a standard of beauty, then take a dog or cat, or any other animal, and examine how far the fame proportions between their heads and their necks, between thofe and the body, and so on, are found to hold; I think we may fafely fay, that they differ in every species, yet that there are individuals found in a great many fpecies fo differing, that have a very striking beauty. Now, if it be allowed that very different, and even contrary, forms and difpofitions are confiftent with beauty, it amounts I believe to a conceffion, that no certain measures operating from a natural principle, are neceffary to produce it, at least fo far as the brute fpecies is concerned.

SECT. IV.

PROPORTION NOT THE CAUSE OF BEAUTY IN THE HUMAN SPECIES.

THE

HERE are some parts of the human body, that are obferved to hold certain proportions to each other; but before it can be proved, that the efficient cause of beauty

VOL. I.

Y

lies

lies in thefe, it must be fhewn, that wherever these are found exact, the person to whom they belong is beautiful: I mean in the effect produced on the view, either of any member diftinctly confidered, or of the whole body together. It must be likewise fhewn, that these parts ftand in such a relation to each other, that the comparison between them may be easily made, and that the affection of the mind may naturally refult from it. For my part, I have at several times very carefully examined many of those proportions, and found them hold very nearly, or altogether alike in many subjects, which were not only very different from one another, but where one has been very beautiful, and the other very remote from beauty. With regard to the parts which are found fo proportioned, they are often fo remote from each other, in fituation, nature, and office, that I cannot fee how they admit of any comparison, nor confequently how any effect owing to proportion can refult from them. The neck, fay they, in beautiful bodies, fhould measure with the calf of the leg; it should likewise be twice the circumference of the wrift. And an infinity of obfervations of this kind are to be found in the writings and converfations of many. But what relation has the calf of the leg to the neck; or either of these parts to the wrift? These proportions are certainly to be found in handfome bodies. They are as certainly in ugly ones; as any who will take the pains to try may find. Nay, I do not know but they may be least perfect in fome of the most beautiful. You may affign any proportions you please to every part of the human body; and I undertake that a painter fhall religioufly observe them all, and notwithstanding produce, if he pleases, a very ugly figure. The fame painter shall confiderably deviate from thefe proportions, and produce a very beautiful one. And indeed it may be observed in the mafterpieces of the antient and modern ftatuary, that feveral of them