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accurate measurements of all sorts of beautiful animals to help them to proper proportions, when they would contrive anything elegant; especially as they frequently assert that it is from an observation of the beautiful in nature they direct their practice. I know that it has been said long since, and echoed backward and forward from one writer to another a thousand times, that the proportions of building have been taken from those of the human body. Toʻmake this forced analogy complete, they represent a man with his arms raised and extended at full length, and then describe a sort of square, as it is formed by passing lines along the extremities of this strange figure. But it appears very clearly to me, that the human figure never supplied the architect with any of his ideas. For, in the first place, men are very rarely seen in this strained posture; it is not natural to them; neither is it at all becoming. Secondly, the view of the human figure so disposed, does not naturally suggest the idea of a square, but rather of a cross; as that large space between the arms and the ground must be filled with something before it can make anybody think of a square. Thirdly, several buildings are by no means of the form of that particular square, which are notwithstanding planned by the best architects, and produce an effect altogether as good, and perhaps a better. And certainly nothing could be more unaccountably whimsical, than for an architect to model his performance by the human figure, since no two things can have less resemblance or analogy, than a man and a house, or temple : do we need to observe, that their purposes are entirely different ? What I am apt to suspect is this : that these analogies were devised to give a credit to the works of art, by showing a conformity between them and the noblest works in nature; not that the latter served at all to supply hints for the perfection of the former. And I am the more fully convinced, that the patrons of proportion have transferred their artificial ideas to nature, and not borrowed from thence the proportions they use in works of art; because in any discussion of this subject they always quit as soon as possible the open field of natural beauties, the animal and vegetable kingdoms, and fortify themselves within the artificial lines and angles of architecture. For there is in mankind an unfortunate propensity to make themselves, their views, and their works, the measure of excellence in everything whatsoever. Therefore, having observed that their dwellings were most commodious and firm when they were thrown into regular figures, with parts answerable to each other; they transferred these ideas to their gardens; they turned their trees into pillars, pyramids, and obelisks ; they formed their hedges into so many green walls, and fashioned their walks into squares, triangles, and other mathematical figures, with exactness and symmetry; and they thought, if they were not imitating, they were at least improving nature, and teaching her to know her business. But nature has at last escaped from their discipline and their fetters; and our gardens, if nothing else, declare we begin to feel that mathematical ideas are not the true measures of beauty. And surely they are full as little so in the animal as the vegetable world. For is it not extraordinary, that in these fine descriptive pieces, these innumerable odes and elegies, which are in the mouths of all the world, and many of which have been the entertaininent of ages, that in these pieces which describe love with such a passionate energy, and represent its object in such an infinite variety of lights, not one word is said of proportion, if it be, what some insist it is, the principal component of beauty; whilst, at the same time, several other qualities are very frequently and warmly mentioned ? But if proportion has not this power, it may appear odd how men came originally to be so prepossessed in its favour. It arose, I imagine, from the fondness I have just mentioned, which men bear so remarkably to their own works and notions; it arose from false reasonings on the effects of the customary figure of animals ; arose from the Platonic theory of fitness and aptitude. For which reason, in the next section, I shall consider the effects of custom in the figure of animals; and afterwards the idea of fitness : since, if proportion does not operate by a natural power attending some measures, it must be either by custom, or the idea of utility; there is no other way.
SECT. V.-PROPORTION FURTHER CONSIDERED. IF I am not mistaken, a great deal of the prejudice in favour of proportion has arisen, not so much from the observation of any certain measures found in beautiful
bodies, as from a wrong idea of the relation which deformity bears to beauty, to which it has been considered as the opposite; on this principle it was concluded, that where the causes of deformity were removed, beauty must naturally and necessarily be introduced. This I believe is a mistake. For deformity is opposed not to beauty, but to the complete common form. If one of the legs of a man be found shorter than the other, the man is deformed; because there is something wanting to complete the whole idea we form of a man; and this has the same effect in natural faults, as maiming and mutilation produce from accidents. So if the back be humped, the man is deformed; because his back has an unusual figure, and what carries with it the idea of some disease or misfortune. So if a man's neck be considerably longer or shorter than usual, we say he is deformed in that part, because men are not commonly made in that manner. But surely every hour's perience may convince us, that a man may have his legs of an equal length, and resembling each other in all respects, and his neck of a just size, and his back quite straight, without having at the same time the least perceivable beauty. Indeed beauty is so far from belonging to the idea of custom, that in reality what affects us in that manner is extremely rare and uncommon. The beautiful strikes us as much by its novelty as the deformed itself. It is thus in those species of animals with which we are acquainted; and if one of a new species were represented, we should by no means wait until custom had settled an idea of proportion, before we decided concerning its beauty or ugliness : which shows that the general idea of beauty can be no more owing to customary than to natural proportion. Deformity arises from the want of the common proportions ; but the necessary result of their existence in any object is not beauty. If we suppose proportion in natural things to be relative to custom and use, the nature of use and custom will show, that beauty, which is a positive and powerful quality, cannot result from it. We are so wonderfully formed, that, whilst we are creatures vehemently desirous of novelty, we are as strongly attached to habit and custom. But it is the nature of things which hold us by custom, to affect us very little whilst we are in possession of them, but strongly when they are absent. I remember to have fre
quented a certain place every day for a long time together; and I may truly say, that so far from finding pleasure in it, I was affected with a sort of weariness and disgust; I came, I went, I returned, without pleasure; yet if by any means I passed by the usual time of my going thither, I was remarkably uneasy, and was not quiet till I had got into my old track. They who uše snuff, take it almost without being sensible that they take it, and the acute sense of smell is deadened, so as to feel hardly anything from so sharp a stimulus; yet deprive the snuff-taker of his box, and he is the most uneasy mortal in the world. Indeed so far are use and habit from being causes of pleasure, merely as such, that the effect of constant use is to make all things of whatever kind entirely unaffecting. For as use at last takes off the painful effect of many things, it reduces the pleasurable effect in others in the same manner, and brings both to a sort of mediocrity and indifference. Very justly is use called a second nature; and our natural and common state is one of absolute indifference, equally prepared for pain or pleasure. But when we are thrown out of this state, or deprived of anything requisite to maintain us in it; when this chance does not happen by pleasure from some mechanical cause, we are always hurt. It is so with the second nature, custom, in all things which relate to it. Thus the want of the usual proportions in men and other animals is sure to disgust, though their presence is by no means any cause of real pleasure. It is true, that the proportions laid down as causes of beauty in the human body, are frequently found in beautiful ones, because they are generally found in all mankind; but if it can be shown too, that they are found without beauty, and that beauty frequently exists without them, and that this beauty, where it exists, always can be assigned to other less equivocal causes, it will naturally lead us to conclude, that proportion and beauty are not ideas of the same nature. The true opposite to beauty is not disproportion or deformity, but ugliness : and as it proceeds from causes opposite to those of positive beauty, we cannot consider it until we come to treat of that. Between beauty and ugliness there is a sort of mediocrity, in which the assigned proportions are most commonly found; but this has no effect upon the passions.
SECT. VI.- FITNESS NOT THE CAUSE OF BEAUTY.
It is said that the idea of utility, or of a part's being well adapted to answer its end, is the cause of beauty, or indeed beauty itself. If it were not for this opinion, it had been impossible for the doctrine of proportion to have held its ground very long ; the world would be soon weary of hearing of measures which related to nothing, either of a natural principle, or of a fitness to answer some end; the idea which mankind most commonly conceive of proportion, is the suitableness of means to certain ends, and, where this is not the question, very seldom trouble themselves about the effect of different measures of things. Therefore it was necessary for this theory to insist, that not only artificial but natural objects took their beauty from the fitness of the parts for their several purposes. But in framing this theory, I am apprehensive that experience was not sufficiently consulted. For, on that principle, the wedge-like snout of a swine, with its tough cartilage at the end, the little sunk eyes, and the whole make of the head, so well adapted to its offices of digging and rooting, would be extremely beautiful. The great bag hanging to the bill of a pelican, a thing highly useful to this animal, would be likewise as beautiful in our eyes. The hedge-hog, so well secured against all assaults by his prickly hide, and
the porcupine with his missile quills, would be then considered as creatures of no small elegance. There are few animals whose parts are better contrived than those of the monkey; he has the hands of a man, joined to the springy limbs of a beast; he is admirably calculated for running, leaping, grappling, and climbing; and yet there are few animals which seem to have less beauty in the eyes of all mankind. I need say little on the trunk of the elephant, of such various usefulness, and which is so far from contributing to his beauty. How well fitted is the wolf for running and leaping! how admirably is the lion armed for battle! but will any one therefore call the elephant, the wolf, and the lion, beautiful animals ? I believe nobody will think the form of a man's leg so well adapted to running, as those of a horse, a dog, a deer, and several other creatures; at least they have not that appearance: yet, I believe, a wellfashioned human leg will be allowed to far exceed all these in