The habit of child-bearing is indicated by a flatter breast, a broader back, and thicker cartilages of the bones of the pubis, necessary widening the pelvis.
The same habit is also indicated by a high rise of the nape of the neck, so that the neck from that point bends considerably forward, and by an elevation which is diffused between the neck and shoulders. These all arise from temporary distensions of the trunk in women whose secretions are powerful, from the habit of throwing the shoulders backward during pregnancy, and the head again forward, to balance the abdominal weight; and they bestow a character of vitality peculiarly expressive.
The same habit is likewise indicated by an excess of that lateral rolling of the body in walking, which was already described as connected with voluptuous character. This is a very certain indication, as it arises from temporary distensions of the pelvis, which nothing else can occasion. As in consequence of this lateral rolling of the body, and of the weight of the body being much thrown forward in gestation, the toes are turned somewhat inward, they aid in the indication.
The habit of nursing children is indicated, both in mothers and nursery-maids, by the right shoulder being larger and more elevated than the left.
The habits of the seamstress are indicated by the neck suddenly bending forward, and the arms being, even in walking, considerably bent forward or folded more or less upward from the elbows.
Habits of labor are indicated by a considerable thickness of the shoulders below, where they form an angle with the inner part of the arm; and, where these habits are of the lowest menial kind, the elbows are turned outward and the palms of the hands backward.
The habits of many of the inferior female professions might easily be indicated; but they would be unsuitable to a work like this.
_External Indications of Age._
External indications of age are required chiefly where the face is veiled, or where the woman observed precedes the observer and may reasonably excite his interest.
In either of these cases, if the foot and ankle have lost a certain moderate plumpness, and a.s.sumed a certain sinewy or bony appearance, the woman has generally pa.s.sed the period of youth.
If in walking, instead of the ball or outer edge of the foot first striking the ground, it is the heel which does so, then has the woman in general pa.s.sed the meridian of life.--Unlike the last indication, this is apparent, however the foot and ankle may be clothed.--The reason of this indication is the decrease of power which unfits the muscles to receive the weight of the body by maintaining the extension of the ankle-joint.
Exceptions to this last indication are to be found chiefly in women in whom the developments of the body are proportionally much greater, either from a temporary or a permanent cause, than those of the limbs, the muscles of which are consequently incapable of receiving the weight of the body by maintaining the extension of the ankle-joint.
APPENDIX
APPENDIX.
A.
Mr. Walker"s extravagant admiration of the Grecian mythology has led him to over-estimate its influence upon poetry and the arts. That these were influenced, in a very important degree, by the religion of Greece, no one acquainted with the history of that nation, can doubt; but, that the arts cannot exist where the Grecian mythology is not the popular religion, is an opinion unsupported by the history of the past, and altogether opposed to their present flourishing state in civilized countries. In no age or nation has the art of painting, for example, attained higher perfection, than in Italy during the 13th and 14th centuries; a period which has been called "the golden age of Italian art," and its high excellence has been justly attributed to the introduction of Christianity. "The walls and cupolas," says a late writer, "of new and splendid churches were immediately covered, as if by enchantment, with the miracles of paintings and sculpture--the eager mult.i.tude were not compelled to wait till genius had labored for years on what it had been years in conceiving. Those eager spirits seemed to breathe out their creations in full and mature beauty--performing at once, by the buoyant energies of well-disciplined genius, more than all the cold precision of mechanical knowledge can ever accomplish." Allan Cunningham, in his life of Flaxman, the artist, speaking of these paintings, remarks: "Into these Flaxman looked with the eye of a sculptor and of a Christian. He saw, he said, that the mistress to whom the great artists of Italy had dedicated their genius was the Church; that they were unto her as chief priests, to interpret her tenets and her legends to the world in a more brilliant language than that of relics and images. To her illiterate people, the Church addressed herself through the eye, and led their senses captive by the external magnificence with which she overwhelmed them."
But it is unnecessary to multiply quotations to prove this point. Flaxman never uttered a truer saying, than when he remarked, that "the Christian religion presents personages and subjects no less favorable to painting and sculpture than the ancient cla.s.sics." Accordingly, we find among his own immortal productions, that the monument erected in memory of Miss Lushington, in Kent, representing a mother mourning for her daughter, comforted by a ministering angel, was inspired by that text of holy writ, "Blessed are they that mourn;" and the monument in memory of the family of Sir Francis Baring imbodies these words, "Thy will be done--thy kingdom come--deliver us from evil." To the first motto belongs a devotional figure as large as life--
"Her looks communing with the skies;"
a perfect image of piety and resignation. On one side, imbodying "Thy kingdom come," a mother and daughter ascend to the skies welcomed rather than supported by angels; and on the other, expressing the sentiment "Deliver us from evil," a male figure, in subdued agony, appears in the air, while spirits of good and evil contend for the mastery. This has been considered one of the finest pieces of motionless poetry in England. We hold, then, that Mr. Walker"s remark that "neither poetry nor the arts can have being, without the religion of Greece," is far from being sustained, either by history or observation.
B.
The remarks of Mr. Walker, in relation to the duty of parents and teachers, seem to us well-founded and judicious. If moral, as well as intellectual and physical education, be part of the parental duty, then it would seem to follow, that it should embrace those subjects which are of the most importance, both to the physical and moral well-being of the child; and surely, the relation of the s.e.xes, and the due subjection of the animal propensities, are not the least important of these. There is a delicacy generally felt and observed on this point, which springs from a principle that we honor and respect, while, at the same time, we doubt whether it leads to favorable and auspicious results. No one, who looks back upon the years of his own childhood, can for a moment doubt that judicious advice and seasonable information on certain subjects, which were probably considered of a too delicate nature to be even hinted at, would have been highly useful. The young will inevitably become initiated into certain vices and evil practices, unless put on their guard, by the warning voice of those they love and respect. There are a variety of pa.s.sions, affections, and appet.i.tes, which belong to our nature, and were intended when properly directed and indulged, to promote our interest and happiness. Those under consideration, early begin to manifest themselves, and, when left without the restraints of enlightened intellect and the moral sense, invariably lead to disastrous consequences. The question then is, shall the young and inexperienced be left to the mere accidents of its condition, without an effort to give it sound principles to govern it, or without bringing some conservative influence to bear upon it? We think, with Mr. Walker, that it should not. Both philosophy and reason prove the danger of such a course. The circ.u.mstances which are connected with s.e.xual vices cannot be wholly kept out of view. They meet the eye, or are suggested to the imagination, at almost every turn. A thousand scenes and incidents occur to excite the pa.s.sions, if the mind is not fortified against their influence. Those who are fastidious, and believe that delicacy forbids all allusion to such subjects, will say, "Keep the youth in ignorance--conceal, if possible, everything from his view, that may excite the pa.s.sions." Still, there remain the const.i.tutional susceptibilities; pa.s.sion and appet.i.te cannot be eradicated, and they will often be excited by incidents, which the most wakeful vigilance will not detect or suspect. The fact is, that long before parents are aware of it, the child has obtained knowledge on these subjects through many corrupt channels; and the a.s.sociations first formed, are destined to exert, ever afterward, a powerful influence for evil. The early a.s.sociations might, by judicious instruction on the part of parents, be of such character, as to throw around the youth a barrier almost impregnable. As to the _time_ and _manner_ of imparting this instruction, it must be left to the wisdom and prudence of teachers and parents and, perhaps, as a general rule, it should be left wholly to the latter.
C.
Much has been written on the nature of beauty, from the divine Plato, who dedicated one of his dialogues to this subject, to Lord Jeffries, the editor of the Edinburgh Review; who, in his celebrated article in the Supplement to the Encyclopedia Britannica, has excelled all previous efforts in its elucidation, and produced an essay, which will stand an imperishable monument of his taste, learning, and genius. It is not our design to enter upon a consideration of beauty in the abstract, or to attempt its a.n.a.lysis, as this has been done by our author in a very able, if not satisfactory manner. We take it, however, to denote that quality, or a.s.semblage and union of qualities in the objects of our perception, whether material, intellectual, or moral, which we contemplate with emotions of pleasure; and we refer it to that internal sense, which is usually called _taste_. When it is asked, why a thing is beautiful, it is not always easy to find a satisfactory answer. We find beauty in color, in sound, in form, in motion, in everything. We have beauties of speech, beauties of thought, beauties in art, in nature, in the sciences, in actions, in affections, and in characters. Dr. Reid well asks, "In things so different, and so unlike, is there any quality, the same in all, which we may call by the name of beauty?" We shall not attempt to fathom this difficulty; indeed, it could not be done, without entering upon a metaphysical discussion, dry in detail, and uninteresting in result.
When we come to inquire in what _female beauty_ consists, we shall find that there is something which enters into it, beside physical goodness. It is not a mere matter of flesh and blood; but color, form, expression, and grace, are all essential to its perfection. The two first have been called the _body_, the two latter, the _soul_ of beauty--and without the soul, the body is but a ma.s.s of deformed and inanimate matter:--
"Mind, mind, alone! bear witness earth and heaven, The living fountains in itself contains Of beauteous and sublime. Here, hand-in-hand, Sit paramount the Graces. Here, enthroned, Celestial Venus, with divinest airs, Invites the soul to never-failing joy."
AKENSIDE
Color and form are only beautiful, because they are expressive of health, delicacy, and softness, in the female s.e.x. It has been remarked, that expression has greater power than either beauty or form, as it is only the expression of the tender and kind pa.s.sions that gives beauty; that all the cruel and unkind ones add to deformity, and that, on their account, good-nature may very properly be said to be the best feature, even in the finest face. Modesty, sensibility, and sweetness, blended together, so as either to enliven or correct each other, give almost as much attraction as the pa.s.sions are capable of adding to a very pretty face. It is owing to this force of pleasingness, which attends all the kinder pa.s.sions, that lovers not only seem, but really are, more beautiful to each other than to the rest of the world; and in their mutual presence and intercourse, says a French writer, there is a soul upon their countenances, which does not appear when they are absent from each other or even in company that lays a restraint upon their features. Indeed, it will appear that all the ingredients of beauty terminate in expression, and this may be, either perfection of the body, or the qualities of the mind. Dr. Reid indeed goes so far as to say, that beauty originally dwells in the moral and intellectual perfections of mind, and in its active powers. Thus beauty may be ascribed to all those qualities which are the natural objects of love and kind affections, as the moral virtues, innocence, gentleness, condescension, humanity, natural affections, and the whole train of soft and gentle virtues--qualities amiable in their nature, and on account of their moral worth. So also do intellectual talents excite our love and esteem of those who possess them; these are knowledge, good sense, wit, humor, cheerfulness, good taste, excellence in any of the fine arts--as music, painting, sculpture, embroidery, &c. Thus, for example, the beauty of good breeding is not originally in the external behavior in which it consists, but is derived from the qualities of mind which it expresses; for it has been well observed, that though there may be good breeding without the amiable qualities of mind, its beauty is still derived from what it naturally expresses.
Flaxman has truly said, that neither mind nor any one of its qualities or powers, is an immediate object of perception to men. These are perceived through the medium of material objects, on which their signatures are impressed. The signs of these qualities are immediately perceived by the senses, and by them reflected to the understanding; and we are apt to attribute to the sign, the beauty which is properly and originally in the thing signified. Thus, the invisible Creator hath stamped on his works signatures of his divine wisdom, power, and benignity, which are visible to all men. The works of men in science, in the arts of taste, and in the mechanical arts, bear the signatures of those qualities of mind which were employed in their production. Their external behavior or conduct in life, expresses the good or bad qualities of their minds. In every species of animals we perceive, by visible signs, their instincts, appet.i.tes, affections, or sagacity; and even in the inanimate world, there are many things a.n.a.logous to the qualities of mind; so that there is hardly anything belonging to mind which may not be represented by images taken from objects of sense; and, on the other hand, every object of sense is beautiful, by borrowing attire from attributes of the mind. Thus, the beauties of mind, though invisible in themselves, are perceived in the objects of sense, in which their beauty is impressed. Thus, also, in those qualities of sensible objects to which we ascribe beauty, we discover in them some relation to mind, and the greatest in those that are most beautiful. Every beauty in the vegetable creation, of which we can form any rational judgment, expresses some perfection in the object, or some wise contrivance in the author. In the animal kingdom we perceive superior beauties, resulting from life, sense, activity, various instincts and affections, and, in many cases, great sagacity; which are attributes of mind, and possess an original beauty. In their manner of life, we observe that they possess powers, outward form, and inward structure, exactly adapted to it; and the more perfectly any individual is fitted for its end and manner of life, the greater is its beauty. This, also, was manifestly Milton"s theory of beauty; for, in his unrivalled description of our first parents in Paradise, he derives their beauty from those expressions of moral and intellectual qualities which shone forth in their outward form and demeanor:--
"Two of far n.o.bler shape, erect and tall, G.o.d-like erect! with native honor clad, In naked majesty, seemed lords of all, And worthy seemed, for, in their looks divine, The image of their glorious Maker, shone Truth, wisdom, sanct.i.tude, severe and pure; Severe, but in true filial freedom placed, Whence true authority in man; though both Not equal, as their s.e.x not equal seemed, For contemplation he, and valor formed, _For softness she, and sweet attractive grace_."
From these remarks, it will appear that we do not regard novelty alone as being "the exciting cause of pleasurable emotions, and of the consequent perception of beauty in the relation of things." The beautiful, both in statuary and painting, we believe to depend chiefly on the perfection with which the artist succeeds in expressing the qualities of the mind, whether good or evil; and it is worthy of notice, that Plato, in his Dialogues, declares that the good and the beautiful are one and the same. Hence, the Greeks called the beautiful [Greek: KALOS].
The influence of novelty has been so well ill.u.s.trated in an Essay by the author of a Treatise on Happiness, that we trust no apology will be required for transferring a portion of it to our pages:--
"The term novelty applies to everything new--either newly invented, or newly exhibited to us; in the former case the thing is novel to the world, in the latter it is novel to ourselves. Novelty powerfully influences the senses, the pa.s.sions, and the manners of human beings; it furnishes amus.e.m.e.nt, employment, and maintenance for man; it accompanies him in his progress through this variable being, from the commencement of life to the period of dissolution.
"Novelty may be either pleasing or unpleasing. When it affects the senses by grateful influences, it occasions admiration and delight. How powerfully must the vision of Adam have been affected, when he was introduced to being! Everything which he beheld was new. There was drawn out before him, the plain, the fruitful valley, the verdant hill. Shrubs and trees were distributed around him. The earth was strewed with flowers: rivulets and rivers diversified the scene--
"Rolling on orient pearl, and sands of gold."
The ocean, perhaps, was stretched out as a plain of silver in the distant view; the heavens were robed in splendor; the sun shone brilliantly. His own person--himself, was an inextricable mystery. He could move; he could think; he could behold the display of creation; he could close his eyes, and exclude every impression. All was new; and everything, he might naturally have fancied, would remain the same; but, he was destined to behold a series of novelties. In a short time, he saw the sun sinking below the horizon. The heavens were adorned in their most splendid robes, like the gorgeous display of an Eastern monarch. A shade was cast over the valleys, and darkness began to gather among the trees, while their tops and branches were still illumined in the sunbeams. The shadows of evening are now gathered around him; the twinkling stars adorn the heavens; but the beauties of hill, vale, waters, trees, and flowers, are departed! How sensibly must he have been affected! He would now conclude that his future time must be spent in darkness; but he looks toward the East, and across the wide expanse of waters he beholds a gleam of light, which leads the eye to some great luminary, rising above the horizon, to cheer the nightly solitude; and, as it mounts to the zenith, new beauties delight the vision of this lonely and astonished inhabitant of the earth. After a short period the moon sinks, the sun rises in the heavens, and the same delightful scenery is exhibited which was beheld the previous day.
"We can imagine the effect of novelty in producing admiration; when travellers, who having been toiling for many days or weeks on the burning sands of interminable deserts, come suddenly upon some lovely valley, watered by cooling streams, shaded by groves of trees, and beautified with cl.u.s.ters of flowers. Or, we can fancy the pleasure which would be produced on wayworn voyagers, who had been long toiling on the great deep and they come to some blest isle,
----"Where the voluptuous breeze The peaceful native breathes, at eventide, From nutmeg-groves, and bowers of cinnamon."
To the infant everything is novel, and almost everything is a source of admiration. The people who move to and fro; the walls and furniture of the room; the fire and the candles; the bustle and movement of men and carriages; the heavens, sunshine, and rain. These occasion interest and surprise. Dr. Brown has inquired, "What metaphysician is there, however subtile and profound in his a.n.a.lytical inquiries, and however successful in the a.n.a.lyses which he has made, who would not give all his past discovery, and all his hopes of future discovery, for the certainty of knowing, with exactness, what every infant feels?" But he would, probably, meet with few who would sacrifice so much for the purpose; and yet the feelings of an infant must be exceedingly interesting.
"We can easily suppose the effect which would be produced on a company of savages, if, in the midst of their woods, one of our best military bands were to strike up a powerful strain of martial music. At first they would sit motionless, or stand as statues; then look toward the place whence the sounds proceeded, where they would behold a company of persons, in many-colored dresses, and splendid ornaments, with curious musical instruments, dropped, as they would fancy, from the clouds.
"But the effect of novelty may be painful; and this feeling will be powerful in the same proportion as the circ.u.mstances are important and new. Suppose, for instance, a person who had been trained in the ways of propriety and virtue were introduced, for the first time, to a village-wake, or some such brutal holyday, where he would behold bull-baiting and c.o.c.k-fighting, boxing and drunkenness; where he would listen to quarrelling and profane swearing; how would his feelings be shocked! He would scarcely have fancied that a spot so small, on the surface of the globe, could have exhibited so great a variety of wickedness.
"Or, we may imagine some one endowed with a delicate ear for music, who had been accustomed to the practice of delightful harmony, obliged, for the first time, to listen to the harsh sc.r.a.ping of some barbarous laborer on the violin, or the useless attempts of some tasteless pract.i.tioners to perform a piece of music! How irksome and insufferable must such an ordeal be to a man of refinement; and how would its painfulness be increased by its novelty!
"By the same rule, a person who may have been accustomed to luxury and dainty food, but is obliged, for the first time, to feed on loathsome bread and nauseous water, feels doubly the misery of his condition. And thus the man who has been used to salubrious air and grateful scents, will be the more effected by disgusting smells.
"Novelty operates also in powerfully exciting the pa.s.sions. Suppose a general to be usually unfortunate in his combats with the enemy, and his army to be consequently dispirited; but, upon some particular occasion, the favors of fortune and of Providence are bestowed upon them, their efforts are successful, and the main body of the enemy begin to waver, how would this inspirit them, and brighten their courage! They would rush forward, unconscious and careless of danger, and the foe must fly before such unconquerable ardor!
"If a man who had lived in poverty, in dependance on others for a subsistence, had constantly wished for independence and comparative influence, and had endeavored to swim against the stream of adversity but had never succeeded, and, all at once, a handsome fortune were left to him, how would his eyes sparkle with exultation! If a person had been separated from his friends and doomed to spend his days in the solitude of a foreign land and he met, unexpectedly, with some of his nearest and kindest friends, how would his countenance beam with delight! The novelty of the circ.u.mstance would increase the amount of his joy!
"A traveller in a foreign country would be exceedingly pleased to discover some trinket which had been made in his native city; and especially if he saw on it the name of an intimate friend as the manufacturer. A toy, a dog, or a cat, under some circ.u.mstances, has occasioned tears. A beautiful female has appeared more lovely, when interesting events have introduced her to our notice; and one who is not usually attractive, has appeared so, when novelty has thrown its fascinations around her.