ture, will make the imagination revolt
against the reason; it will please much more than the naked proportion
of the first room, which the understanding has so much approved, as
admirably fitted for its purposes. What I have here said and before
concerning proportion, is by no means to persuade people absurdly to
neglect the idea of use in the works of art. It is only to show that
these excellent things, beauty and proportion, are not the same; not
that they should either of them be disregarded.

SECTION VIII.

THE RECAPITULATION.

On the whole; if such parts in human bodies as are found proportioned,
were likewise constantly found beautiful, as they certainly are not; or
if they were so situated, as that a pleasure might flow from the
comparison, which they seldom are; or if any assignable proportions were
found, either in plants or animals, which were always attended with
beauty, which never was the case; or if, where parts were well adapted
to their purposes, they were constantly beautiful, and when no use
appeared, there was no beauty, which is contrary to all experience; we
might conclude that beauty consisted in proportion or utility. But
since, in all respects, the case is quite otherwise; we may be satisfied
that beauty does not depend on these, let it owe its origin to what else
it will.

SECTION IX.

PERFECTION NOT THE CAUSE OF BEAUTY.

There is another notion current, pretty closely allied to the former;
that _perfection_ is the constituent cause of beauty. This opinion has
been made to extend much further than to sensible objects. But in
these, so far is perfection, considered as such, from being the cause of
beauty; that this quality, where it is highest, in the female sex,
almost always carries with it an idea of weakness and imperfection.
Women are very sensible of this; for which reason they learn to lisp, to
totter in their walk, to counterfeit weakness, and even sickness. In all
this they are guided by nature. Beauty in distress is much the most
affecting beauty. Blushing has little less power; and modesty in
general, which is a tacit allowance of imperfection, is itself
considered as an amiable quality, and certainly heightens every other
that is so. I know it is in every body's mouth, that we ought to love
perfection. This is to me a sufficient proof, that it is not the proper
object of love. Who ever said we _ought_ to love a fine woman, or even
any of these beautiful animals which pleas