"are sometimes met with in any figure, as for example, in the beautiful trunk of a naked female figure in the possession of Signior Cavaceppi at Rome, in which the body from the navel to the sexual parts is of an uncommon length, it is most probable that such figures have been copied from nature, that is, from persons so formed.' Nothing certainly would be better founded in natural tendency than such idealization.

All the three Greek methods of proportion being now before the reader, I must briefly notice other circumstances.

In the head in particular, may be observed CHARACTER, or a permanent and invariable form, which defines its capabilities, and EXPRESSION, or temporary and variable forms, which indicate its actual functions.

The teachers of anatomy for artists have not, that I know of, clearly described the causes of these. I may therefore observe, that as character is permanent and invariable, it depends fundamentally on permanent and invariable parts the bones; and as expression is temporary and vari

* "Che se talora s' incontrano differenti proporzioni in qualche figura, come, a cagion d' esempio, in un bel torso d' una figurina muliebre ignuda presso il signor Cavaceppi in Roma, in cui dall' umbilico alle parti sessuali passa una distanza non comune, allora deggiam credere che simili figure siano state copiate dal naturale, cioè da persone così formate."-Ibid.

able, it depends on shifting and variable parts the muscles.

It is well observed by Mengs that, in relation to character, "the peculiar distinction of the ancients is, that from one part of the face, we may know the character of the whole."* And, of expression, Wincklemann observes that "the portion which possesses beauty of expression or action, or beauty of both added to the figure of any person, is like the resemblance of one who views himself in a fountain; the reflection is not seen plainly unless the surface of the water be still, limpid and clear: quiet and tranquillity are as suitable to beauty as to the sea. Expression and action being, in art as in nature, the evidence of the active or passive state of the mind, perfect beauty can never exist in the countenance unless the mind be calm and free from all agitation, at least from every thing likely to change and disturb the lineaments of which beauty is composed."

Now the details which, during the period of perfection in art, were so skilfully employed, were these very means of expression or circumstances attending and indicating them - minuter forms which are universal, and without which nature is imperfectly represented minuter forms of the

"Il particolare degli antichi è, che da una parte del viso si può conoscere il carattere di tutto il restante."-Opere.

highest order, because the means of expressing intellect, emotion and passion if required.

These higher details we find, for instance, in the turn of the inner end of the eyebrow, or constriction and elevation of the under eyelid, or a hundred other traits dependent on subjacent muscles. We find them in slight risings of mere cutaneous parts, when they lie over and are elevated by the attachment of muscles, as at the inner angles of the eyes, the corners of the mouth, and elsewhere. We find them in depressions or furrows, when they are drawn down by contiguous muscles. These are of higher character, because they belong to expression or its means; and there is a corresponding want of completeness, of truth, of nature, without them.

Between these intellectual means, these higher details, and those of a lower order, accidental details, the great artists of Greece distinguished. Accidental details have nothing to do with expression or the means of expression; they depend upon an inferior system, that merely of life, and constitute all the depositions, excrescences and growths which confuse the vision of the unexperienced, and embarrass that of the most discriminating, in the examination of higher beauty.

These lower details we find, for instance, in the puffings of adipose substance which project from

the spaces between the muscles of the face, and from other accidents of the vital system, as wrinkles or folds from the absence of adipose substance, fulness or emptiness of the vessels, projecting veins, peculiar conditions of the skin, turbidity of the eyes, hairs of the head, beard or skin, &c. These have always characterized inferior artists and inferior periods of art.

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From these observations, it will be seen that such unqualified statements as the following by Azara, lead only to misconception. "A human face, for example, is composed of the forehead, brows, eyes, nose, cheeks, mouth, chin, and beard. These are the great parts; but each of these contains many other minor parts, which also contain an infinity of others still less. If the painter will content himself to express well the great parts which I have taken notice of, he will have a grand style; if he depicts also the second, his style will be that of mediocrity; and if he pretends to introduce the last, his style will be insignificant and ridiculous."

CHAPTER XVIII.

THE GREEK IDEAL BEAUTY

On this important doctrine of art, of which Winckelmann says, "The ideal is as much more noble than the mechanical as the mind is superior to the body," I shall follow, so far as I can advantageously, the great writers on the subject, in order that the reader may have all the confidence in its recognized portions that authority can bestow, and that he may the better distinguish them from the new views which are here added.

"There are," says Winckelmann, "two kinds of beauty, individual and ideal: the former is a combination of the beauties of an individual; the latter, a selection of beautiful parts from several.*

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'The formation of beauty was begun from some beautiful individual, that is, from the imitation of some beautiful person, as in the representation of

"La bellezza è di due specie, individuata, e ideale; la prima è un complesso delle belle forme d' un individuo; e la seconda un estratto di essa preso da più individui."-Monumenti Inediti.