elements in dissimilar proportions. There is, for example, the flaxen, kindly beauty of the Dutch type, the dusky Jewess, the tall, fair Scandinavian, the dark and brilliant south Italian, the noble Roman, the dainty Japanese—to name no others. Each of these types has its peculiar and incommensurable points, and within the limits of each type you will find a hundred divergent, almost unanalyzable, styles, a beauty of expression, a beauty of carriage, a beauty of reflection, a beauty of repose, arising each from a quite peculiar proportion of parts and qualities, and having no definable relation at all to any of the others. If we were to imagine a human appearance as made up of certain elements, a, b, c, d, e, f, etc., then we might suppose that beauty in one case was attained by a certain high development of a and f, in another by a certain fineness of c and d, in another by a delightfully subtle ratio of f and b.
A, b, c, d, e, F, etc.
a, b, c, d, e, f, etc.
a, b, c, d, e, F, etc.,
might all, for example, represent different types of beauty. Beauty is neither a simple nor a