sy. But beauty of all kinds gives us a peculiar delight and
satisfaction; as deformity produces pain, upon whatever subject it may
be placed, and whether surveyed in an animate or inanimate object. If
the beauty or deformity, therefore, be placed upon our own bodies, this
pleasure or uneasiness must be converted into pride or humility, as
having in this case all the circumstances requisite to produce a perfect
transition of impressions and ideas. These opposite sensations are
related to the opposite passions. The beauty or deformity is closely
related to self, the object of both these passions. No wonder, then our
own beauty becomes an object of pride, and deformity of humility.

But this effect of personal and bodily qualities is not only a proof of.
the present system, by shewing that the passions arise not in this case
without all the circumstances I have required, but may be employed as
a stronger and more convincing argument. If we consider all the
hypotheses, which have been formed either by philosophy or common
reason, to explain the difference betwixt beauty and deformity, we shall
find that all of them resolve into this, that beauty is such an order
and construction of parts, as either by the primary constitution of
our nature, by custom, or by caprice, is fitted to give a pleasure
and satisfaction to the soul. This is the distinguishing character of
beauty, and forms all the difference betwixt it and deformity, whose
natural tendency is to produce uneasiness. Pleasure and pain, therefore,
are not only necessary attendants of beauty and deformity, but
constitute their very essence. And indeed, if we consider, that a
great part of the beauty, which we admire either in animals or in other
objects, is derived from the idea of convenience and utility, we shall
make no scruple to assent to this opinion. That shape, which produces
strength, is beautiful in one animal; and that which is a sign of
agility in another. The order and convenience of a palace are no less
essential to its beauty, than its mere figure and appearance. In like
manner the rules of architecture require, that the top of a pillar
should be more slender than its base, and that because such a figure
conveys to us the idea of security, which is pleasant; whereas the
contrary form gives us the apprehension of danger, which is uneasy. From
innumerable instances of this kind, as well as from considering that
beauty like wit, cannot be defined, but is disc