solely, by the forces of this nature.

Well-proportioned limbs, rounded contours, an agreeable complexion,
delicacy of skin, an easy and graceful figure, a harmonious tone of
voice, etc., are advantages which are gifts of nature and fortune: of
nature, which predisposed to this, and developed it herself; of fortune,
which protects against all influence adverse to the work of nature.

Venus came forth perfect and complete from the foam of the sea. Why
perfect? because she is the finished and exactly determined work of
necessity, and on that account she is neither susceptible of variety nor
of progress. In other terms, as she is only a beautiful representation
of the various ends which nature had in view in forming man, and thence
each of her properties is perfectly determined by the idea that she
realizes; hence it follows that we can consider her as definitive and
determined (with regard to its connection with the first conception)
although this conception is subject, in its development, to the
conditions of time.

The architectonic beauty of the human form and its technical perfection
are two ideas, which we must take good care not to confound. By the
latter, the ensemble of particular ends must be understood, such as they
co-ordinate between themselves towards a general and higher end; by the
other, on the contrary, a character suited to the representation of these
ends, as far as these are revealed, under a visible form, to our faculty
of seeing and observing. When, then, we speak of beauty, we neither take
into consideration the justness of the aims of nature in themselves, nor
formally, the degree of adaptation to the principles of art which their
combination could offer. Our contemplative faculties hold to the manner
in which the object appears to them, without taking heed to its logical
constitution. Thus, although the architectonic beauty, in the structure
of man, be determined by the idea which has presided at this structure,
and by the ends that nature proposes for it, the aesthetic judgment,
making abstraction of these ends, considers this beauty in itself; and in
the idea which we form of it, nothing enters which does not immediately
and properly belong to the exterior appearance.

We are, then, not obliged to say that the dignity of man and of his
condition heightens the beauty of his structure. The idea we have of his
dignity may influence, it is true, the judgment that we form on the
beauty of his stru