Beauty: Illustrated Chiefly by an Analysis and Classificatin of Beauty in Woman

4. If the cerebel be not proportionally smaller, when compared with the organs of sense, than in the male; because, voluntary power should also be subordinate to sensibility, in the female.

5. If the cerebel be not narrow and pointed posteriorly, that is, long rather than broad (its general form in woman); because, the volitions of woman should be intense, not permanent.

6. If the forehead be not large in proportion to the backhead, but on the contrary low, or very narrow; because, the former being the seat of observation, if the organ be small, the function must be correspondingly so, and in that case passion will probably predominate.

7. If the delicacy of the skin permit not to the touch of woman corresponding delicacy.

8. If the mouth be not small, or extend much beyond the nostrils, and if the lips be not delicately outlined and of vermillion hue.

9. If the nose be not nearly in the same direction with the forehead, or if more than a slight inflexion is to be seen.

10. If the eyes be not relatively large and perfectly clear in every part.

11. If the eyelids, instead of an oblong, form nearly a circular aperture, resembling somewhat the eye of monkeys, cats, or birds; because, this round eye, when large, and especially when dark, is always indicative of a bold, and, when small, of a pert insensibility of character.

12. If the eyelashes be not long and silky, and if the eyebrows be not furnished with fine hairs, and be not arched and distinctly separated.

13. If the ears be prominent, so as to alter the regularity of the oval of the head, or surcharge its outline with prominences.

CHAPTER XXI.

EXTERNAL INDICATIONS; OR ART OF DETERMINING THE PRECISE FIGURE, THE DEGREE OF BEAUTY, THE MIND, THE HABITS, AND THE AGE OF WOMAN, NOTWITHSTANDING THE AIDS AND DISGUISES OF DRESS

External Indications of Figure

External indications as to figure are required chiefly as to the limbs which are concealed by drapery. Such indications are afforded by the walk, to every careful observer.

In considering the proportion of the limbs to the body—if, even in a young woman, the walk, though otherwise good, be heavy, or the fall on each foot alternately be sudden, and rather upon the heel, the limbs, though well formed, will be found to be slender, compared with the body.

This conformation accompanies any great proportional development of the vital system; and it is frequently observable in the women of the Saxon population of England, as in the counties of Norfolk, Suffolk, &c.

In women of this conformation, moreover, the slightest indisposition or debility is indicated by a slight vibration of the shoulders, and upper part of the chest, at every step, in walking.

In considering the line or direction of the limbs—if, viewed behind, the feet, at every step, are thrown out backward, and somewhat laterally, the knees are certainly much inclined inward.

If, viewed in front, the dress, at every step, is as it were, gathered toward the front, and then tossed more or less to the opposite side, the knees are certainly too much inclined.

In considering the relative size of each portion of the limbs—if, in the walk, there be a greater or less approach to the marching pace, the hip is large; for we naturally employ the joint which is surrounded with the most powerful muscles, and, in any approach to the march, it is the hip-joint which is used, and the knee and ankle-joints which remain proportionally unemployed.

If, in the walk, the tripping pace be used, as in an approach to walking on tiptoes, the calf is large; for it is only by the power of its muscles that, under the weight of the whole body, the foot can be extended for this purpose.

If, in the walk, the foot be raised in a slovenly manner, and the heel be seen, at each step, to lift the bottom of the dress upward and backward, neither the hip nor the calf is well developed.

Even with regard to the parts of the figure which are more exposed to observation by the closer adaptation of dress, much deception occurs. It is, therefore, necessary to understand the arts employed for this purpose, at least by skilful women.

A person having a narrow face, wears a bonnet with wide front, exposing the lower part of the cheeks.—One having a broad face, wears a closer front; and, if the jaw be wide, it is in appearance diminished, by bringing the corners of the bonnet sloping to the point of the chin.

A person having a long neck has the neck of the bonnet descending, the neck of the dress rising, and filling more or less of the intermediate space. One having a short neck has the whole bonnet short and close in the perpendicular direction, and the neck of the dress neither high nor wide.

Persons with narrow shoulders have the shoulders or epaulets of the dress formed on the outer edge of the natural shoulder, very full, and both the bosom and back of the dress running in oblique folds, from the point of the shoulder to the middle of the bust.

Persons with waists too large, render them less before by a stomacher, or something equivalent, and behind by a corresponding form of the dress, making the top of the dress smooth across the shoulders, and drawing it in plaits to a narrow point at the bottom of the waist.

Those who have the bosom too small, enlarge it by the oblique folds of the dress being gathered above, and by other means.

Those who have the lower posterior part of the body too flat, elevate it by the top of the skirt being gathered behind, and by other less skilful adjustments, which though hid, are easily detected.

Those who have the lower part of the body too prominent anteriorly, render it less apparent by shortening the waist, by a corresponding projection behind, and by increasing the bosom above.

Those who have the haunches too narrow, take care not to have the bottom of the dress too wide.

Tall women have a wide skirt, or several flounces, or both of these: shorter women, a moderate one, but as long as can be conveniently worn, with the flounces, &c., as low as possible.[57 - Appendix K.]

External Indications of Beauty

Additional indications as to beauty are required chiefly where the woman observed precedes the observer, and may, by her figure, naturally and reasonably excite his interest, while at the same time it would be rude to turn and look in her face on passing.

There can, therefore, be no impropriety in observing, that the conduct of those who may happen to meet the woman thus preceding, will differ according to the sex of the person who meets her.—If the person meeting her be a man, and the lady observed be beautiful, he will not only look with an expression of pleasure at her countenance, but will afterward turn more or less completely to survey her from behind.—If the person meeting her be a woman, the case becomes more complex. If both be either ugly or beautiful, or if the person meeting her be beautiful and the lady observed be ugly, then it is probable, that the approaching person may pass by inattentively, casting merely an indifferent glance: if, on the contrary, the woman meeting her be ugly, and the lady observed be beautiful, then the former will examine the latter with the severest scrutiny, and if she sees features and shape without defect, she will instantly fix her eyes on the head-dress or gown, in order to find some object for censure of the beautiful woman, and for consolation in her own ugliness.

Thus he who happens to follow a female may be aided in determining whether it is worth his while to glance at her face in passing, or to devise other means of seeing it.

Even when the face is seen, as in meeting in the streets or elsewhere, infinite deception occurs as to the degree of beauty. This operates so powerfully, that a correct estimate of beauty is perhaps never formed at first. This depends on the forms and still more on the colors of dress in relation to the face. For this reason, it is necessary to understand the principles according to which colors are employed at least by skilful women.[58 - I speak not of paint here. It is now used only by meretricious persons and by those harridans of higher rank who resemble them in every respect, except that the former are ashamed of their profession, and the latter advertise it.]

When it is the fault of a face to contain too much yellow, then yellow around the face is used to remove it by contrast, and to cause the red and blue to predominate.

When it is the fault of a face to contain too much red, then red around the face is used to remove it by contrast, and to cause the yellow and blue to predominate.

When it is the fault of a face to contain too much blue, then blue around the face is used to remove it by contrast, and to cause the yellow and red to predominate.

When it is the fault of a face to contain too much yellow and red, then orange is used.

When it is the fault of a face to contain too much red and blue, then purple is used.

When it is the fault of a face to contain too much blue and yellow, then green is used.

It is necessary to observe that the linings of bonnets reflect their color on the face, and transparent bonnets transmit that color, and equally tinge it. In both these cases, the color employed is no longer that which is placed around the face, and which acts on it by contrast, but the opposite. As green around the face heightens a faint red in the cheeks by contrast, so the pink lining of the bonnet aids it by reflection.

Hence linings which reflect, are generally of the teint which is wanted in the face; and care is then taken that these linings do not come into the direct view of the observer, and operate prejudicially on the face by contrast, overpowering the little color which by reflection they should heighten. The fronts of bonnets so lined, therefore, do not widen greatly forward, and bring their color into contrast.

When bonnets do widen, the proper contrast is used as a lining; but then it has not a surface much adapted for reflection, otherwise it may perform that office, and injure the complexion.

Understanding, then, the application of these colors in a general way, it may be noticed, that fair faces are by contrast best acted on by light colors, and dark faces by darker colors.

Dark faces are best affected by darker colors, evidently because they tend to render the complexion fairer; and fair faces do not require dark colors, because the opposition would be too strong.

Objects which constitute a background to the face, or which, on the contrary, reflect their hues upon it, always either improve or injure the complexion. For this and some other reasons, many persons look better at home in their apartments than in the streets. Apartments may, indeed, be peculiarly calculated to improve individual complexions.

External Indications of Mind