The text discusses the concept of beauty in art, emphasizing the need for harmony among the parts. It notes that beauty is generally pleasing but varies in its emotional impact and is best complemented by grace or charm. Historical figures like Nero and literary figures like Ovid and Catullus are mentioned to illustrate how beauty is enhanced when charm is involved.
Beauty of Human Figures
Sometimes, the greatest beauty in the world can come from the unskilled handling of artists. But this beauty does not merely manifest itself; it requires that all parts, without the slightest deviation, align with each other. This is why some have said that to precisely imitate beauty in painting is as rare as beauty itself.
Furthermore, although beauty is generally agreeable to everyone, not all beauty has the same capacity to captivate our emotions. We might find ourselves drawn and inclined towards some efforts of our heart unless first, such beauty is complemented by grace or charm, which is the true ornament of beauty. This charm, arising from the gentle and pleasing gestures of the eyes, mouth, and hands, discreetly influences the perception, making us see bodies more beautiful than they are. In the life of Nero, he was said to be well-formed and handsome, but at least not charming. In contrast, Ovid believed that the ultimate touch to the beauty of his Venus was that her beauty was mingled with perfect charm.
Translation Notes
- "Schoonheyd" is an old term roughly equivalent to ‘beauty’.
- "Bevalligheyd" implies a combination of grace and charm, considered essential for beauty to be perceived as truly captivating.