Part 58

That mental culture adds much to Italian beauty cannot be said, for Italian women of all classes are noted for their intellectual indolence. But atonement is largely made for this by their extreme emotional susceptibility. Blue skies, rank vegetation, pretty scenery, and a natural love of music have softened and trained their feelings; and though the Italian climate does not favour profound artistic culture it warms the blood and incites the features to give expression to every passing mood. It is this habit of emotional expression that has given a unique charm and the power of graceful modulation to Italian features. As a German artist, Herr Otto Knille, remarks of the Italians, “They pose unintentionally. Their features, especially among the lower classes, have been moulded through mimic expression practised for thousands of years. Gesture-language has shaped the hands of many into models of anatomic clearness. They have a complete language of signs and gestures, which each one understands, as, for instance, in the ballet. Add to this the innate grace of this race ... and we see that the Italian artist has an abundance of material for copying, as compared with which the German artist must admit his extreme poverty. Whoever has lived in Italy is in a position to appreciate these advantages.... Think of the neck, the nape, and the bust of Italian woman, the fine joints and the elastic gait of both men and women. Nor are we much better endowed as regards the physiognomy. The German potato-face is not a mere fancy—the mirror which A. de Neuville has held up to us, though clouded with prejudice, shows us an image not entirely untrue to life. We artists know how rarely a head, especially one which lacks the enchanting charm of youth, can be used as a model for anything but flat realism. Most German faces, instead of becoming more clearly chiselled and elaborated with age, appear more spongy, vague, and unmeaning.”

Winklemann’s remarks on Italian Beauty are in the same vein: “We seldom find in the fairest portions of Italy the features of the face unfinished, vague, and inexpressive, as is frequently the case on the other side of the Alps; but they have partly an air of nobleness, partly of acuteness and intelligence; and the form of the face is generally large and full, and the parts of it in harmony with each other. The superiority of conformation is so manifest that the head of the humblest man among the people might be introduced in the most dignified historical painting, especially one in which aged men are to be represented. And among the women of this class, even in places of the least importance, it would not be difficult to find a Juno. The lower portion of Italy, which enjoys a softer climate than any other part of it, brings forth men of superb and vigorously-designed forms, which appear to have been made, as it were, for the purposes of sculpture.”

In confirmation of my statement that in Northern as in Southern Italy it is the Brunette type that chiefly excites the admiration of the tourist, I may finally cite Heine’s remarks on the women of Trent. For, although Trent is a town of the Austrian Tyrol, it yet is practically an Italian community. Had not business called him southwards, Heine relates in his _Journey from Munich to Genoa_, he would have felt tempted to remain in this town where “beautiful girls were moving about in bevies. I do not know,” he adds, “whether other tourists will approve of the adjective ‘beautiful’ in this case; but I liked the women of Trent exceptionally well. They were just of the kind I admire—and I do love these pale, elegiac faces with the large black eyes that gaze at you so love-sick; I love also the dusky tint of those proud necks which Phœbus already has loved and browned with his kisses; ... but above all things do I love that graceful gait, that dumb music of the body, those limbs with their exquisitely rhythmic movements, luxurious, supple, divinely careless, mortally languid, anon æthereal, majestic, and always highly poetic. I love such things as I love poetry itself; and these figures with their melodious movements, this wondrous concert of femininity which delighted my senses, found an echo in my heart, and awoke in it sympathetic strains.”

SPANISH BEAUTY

In Spain, as in Italy, Germany, France, and the United States, we find more Personal Beauty in the Southern than in the Northern regions. This coincidence cannot be accidental, but attests the great cosmetic value of sunshine and plenty of fresh air. Perhaps no other portion of the globe has such a paradisiacal climate as Andalusia, where the inhabitants practically pass all their time in the open air,—on verandahs and in their cosy little galleries, and fragrant orange groves, in whose shade they can spend the hot part of the day, while the nights are cooled by balmy mountain or sea breezes. To these natural hygienic advantages add the unusually happy mixture of nationalities, and the fact that Romantic Love is much less impeded in its sway than in France or Italy, and we see at a glance to what the young Andalusian owes the undulating lines and luscious plumpness of her figure, her ravishing facial beauty, and her graceful gait, or “melodious movements,” as Heine would say.

Surely the goddess of Beauty herself mixed the national colours that make up the Spanish type. When Spain was added to the Roman dominion she was, as Mr. E. A. Freeman remarks, “the only one of the great countries of Europe where the mass of the people were not of the Aryan stock. The greater part of the land was still held by the _Iberians_, as a small part is even now by their descendants the Basques. But in the central part of the peninsula _Celtic_ tribes had pressed in, and ... there were some _Phœnician_ colonies in the south, and some _Greek_ colonies on the east coast. In the time between the first and second Punic Wars, Hamilcar, Hasdrubal, and Hannibal had won all Spain as far as the Ebro for _Carthage_.” Among the other nations which successively overran the country were the Goths, Vandals, Suevi, and Moors; to whom must be added large numbers of Jews and Gypsies, of which latter race Spain still possesses about 50,000.

Most of these nations had some favourable physical traits which Sexual Selection had the opportunity to fix upon and perpetuate; while sundry incongruities must have been neutralised and obliterated by the intermingling of races. And another important consideration is, that this intermingling of nations was effected so many centuries ago that it is now no longer a heterogeneous physical mixture, but a true “chemical,” or physiological, fusion, in which dissonances and incongruities are less likely to occur than in countries where the mixture is more recent.

That the addition of Greek and Roman blood, redolent of ancient civilisation, to the original Spanish stock was an advantage is obvious. The Goth brought his manly vigour; the Gypsy his concentrated essence of Brunetteism; the Arab his oval face, dusky complexion, the straight line connecting nose and forehead, the small mouth and white teeth, the dark and glossy hair, the delicate extremities and gracefully-arched foot, and above all, the black eyes and long black eyelashes. If Shakspere is right in saying that there is no author in the world “teaches such beauty as a woman’s eye,” then Andalusia easily leads the world in Personal Beauty. The prosiest tourist becomes poetic in describing the Andalusian’s “black eye that mocks her coal-black veil.” Large and round are these eyes, like those of Oriental Houris; long and dense their black lashes, which yet cannot smother the mysterious fire and sparkle which their iris appears to have borrowed of the Gypsies. In many cases there is a vague, piquant indication of the almond-shaped palpebral aperture—one of the Semitic traits derived from the Phœnicians, Jews, and Saracens. And then, what woman can make such irresistibly fascinating use of her eyes as the Spanish brunette?

M. Figuier thus sums up the physical characteristics of the Spanish woman: “She is generally brunette, although the blonde type occurs much more frequently than is usually supposed. The Spanish woman is almost always small of stature. Who has not observed the large eyes, veiled by thick lashes, her delicate nose, and well-formed nostrils? Her form is always undulating and graceful; her limbs are round and beautifully moulded, and her extremities of incomparable delicacy. She is a charming mixture of vigour, languor, and grace.”

“The appearance of a Spanish woman,” says Bogumil Goltz, “is the expression of her character. Her fine figure, her majestic gait, her sonorous voice, her black, flashing eye, the liveliness of her gesticulations, in a word, her whole external personality indicates her character.”

It is to be noted that whereas French Beauty appears to be visible to French eyes only, and regarding Italian Beauty opinions differ, all nations unite in singing the praises of “Spain’s dark-glancing daughters.” To the French and German testimony just cited may now be added a few Italian, English, and American witnesses.

Signor E. de Amicis, in his interesting work on Spain, says of the women of Madrid that “they are still the same little women so besung for their great eyes, small hands, and tiny feet, with their very black hair, but skin rather white than dark, so well-formed, erect, lithe, and vivacious.” But, like all other tourists, he reserves most of his remarks on Spanish women for his chapters on Andalusia, although this is the part of Spain which also offers the richest material for description in its architecture and scenery. Concerning the women and girls of Seville, as seen in the large tobacco factory which employs 5000 females, he says: “There are some very beautiful faces, and even those that are not absolutely beautiful, have something about them which attracts the eye and remains impressed upon the memory—the colouring, eyes, brows, and smile, for instance. Many, especially the so-called _gitane_, are dark brown, like mulattoes, and have protruding lips: others have such large eyes that a faithful likeness of them would seem an exaggeration. The majority are small, well-made, and all wear a rose, pink, or a bunch of field-flowers among their braids.... On coming out of the factory, you seem to see on every side for a time, black pupils which look at you with a thousand different expressions of curiosity, ennui, sympathy, sadness, and drowsiness.”

The same writer found that “The feminine type of Cadiz was not less attractive than that celebrated one at Seville. The women are a little taller, a trifle stouter, and rather darker. Some fine observer has asserted that they are of the Greek type; but I cannot see where. I saw nothing, with the exception of their stature, but the Andalusian type; and this sufficed to make me heave sighs deep enough to have blown along a boat and obliged me to return as soon as possible to my ship, as a place of peace and refuge.”

Mr. G. P. Lathrop’s description (in _Spanish Vistas_) of the girls in the Seville factory is pitched in a somewhat lower key than Signor de Amicis’s: “Some of them,” he writes, “had a spendthrift, common sort of beauty, which, owing to their southern vivacity and fine physique, had the air of being more than it really was.... There were some appalling old crones.... Others, on the contrary, looked blooming and coquettish. Many were in startling deshabille, resorted to on account of the intense (July) heat, and hastened to draw pretty pañuelos of variegated dye over their bare shoulders when they saw us coming.... The beauty of these Carmens has certainly been exaggerated. It may be remarked here that, as an offset to occasional disappointment arising from such exaggerations, all Spanish women walk with astonishing gracefulness, and natural and elastic step; and that is their chief advantage over women of other nations.”

A writer in _Macmillan’s Magazine_ (1874), after referring to “the stately upright walk of the Spanish ladies, and the graceful carriage of the head,” notes that a mother will not allow her daughter to carry a basket, so as not to destroy her “queenly walk”; and “her dull eye too will grow moist with a tear, and her worn face will kindle with absolute softness and sweetness, if an English señor expresses his admiration of her child’s magnificent hair or flashing black eyes.”

The description given by the same writer of a scene he witnessed along the Guadalquiver, suggests one reason of the healthy physique and vitality of Spanish women: “An old mill-house, with its clumsy wheel and a couple of pomegranates, shaded one corner of this part of the river; and under their shade, sitting up to their shoulders in the water, on the huge round boulders of which the bottom of the river is composed, were groups of Spanish ladies. Truly it was a pretty sight! They sat as though on chairs, clothed to the neck in bathing-gowns of the gaudiest colours—red, gray, yellow, and blue; and, holding in one hand their umbrellas, and with the other fanning themselves, they formed a most picturesque group.”

Washington Irving, in a private letter, paints this picture of a Spanish beauty whom he saw on a coast steamer: “A young married lady, of about four or five and twenty, middle-sized, finely-modelled, a Grecian outline of face, a complexion sallow yet healthful, raven black hair, eyes dark, large, and beaming, softened by long eyelashes, lips full and rosy red, yet finely chiselled, and teeth of dazzling whiteness. Her hand ... is small, exquisitely formed, with taper fingers, and blue veins. I never saw a female hand more exquisite.” The husband of this young lady, noticing that Mr. Irving was apparently sketching her, questioned him on the matter. Mr. Irving read his sketch to the man, who was greatly pleased with it; and this led to a delightful though brief acquaintance.

in another letter, Washington Irving writes to a friend: “There are beautiful women in Seville as ... there are in all other great cities; but do not, my worthy and inquiring friend, expect a perfect beauty to be staring you in the face at every turn, or you will be awfully disappointed. Andalusia, generally speaking, derives its renown for the beauty of its women and the beauty of its landscape, from the rare and captivating charms of individuals. The generality of its female faces are as sunburnt and void of bloom and freshness as its plains. I am convinced, the great fascination of Spanish women arises from their natural talent, their fire and soul, which beam through their dark and flashing eyes, and kindle up their whole countenance in the course of an interesting conversation. As I have had but few opportunities of judging them in this way, I can only criticise them with the eye of a sauntering observer. It is like judging of a fountain when it is not in play, or a fire when it lies dormant and neither flames nor sparkles.”

Byron, in _Childe Harold_, waxes enthusiastic over the Spanish woman’s “fairy form, with more than female grace”—

“Her glance how wildly beautiful! how much Hath Phœbus wooed in vain to spoil her cheek, Which glows yet smoother from his amorous clutch! Who round the North for paler dames would seek? How poor their forms appear! how languid, wan, and weak!”

But in a letter from Cadiz Byron notes the weak as well as the strong points of Spanish women. “With all national prejudice, I must confess, the women of Cadiz are as far superior to the English women in beauty, as the Spaniards are inferior to the English in every quality that dignifies the name of man.... The Spanish women are all alike, their education the same.... Certainly they are fascinating; but their minds have only one idea, and the business of their lives is intrigue.... Long black hair, dark languishing eyes, clear olive complexions, and forms more graceful in motion than can be conceived by an Englishman used to the drowsy, listless air of his countrywomen, added to the most becoming dress, and, at the same time, the most decent in the world, render a Spanish beauty irresistible.”

“Their minds have only one idea,” is an exaggeration, for the Andalusian women are famed for a considerable amount of innate wit, rivalling the brightness of their eyes. Yet of deeper intellectual interests there are none. Of the total population of Spain only a quarter can read and write; for although schools exist in abundance, they are very generally neglected; and the estimation in which teachers are held is seen from the fact that out of 15,000 one half receive an annual salary of less than twenty pounds sterling.

Mental Culture avenges itself bitterly on the women of Spain, as of other Southern countries, for this neglect of its claims. While the freshness of youthful Beauty remains, all is well, for then the sensuous charms are so great that intellectual claims can be ignored. But when this freshness fades, then it is that the features begin to show a lack of mental training. Intellectual apathy masks the face, and gives it an expression of vacuity; exercise is neglected, and indolence, combined with excessive indulgence in fattening food, soon destroy the lovely contours of the figure and the fairy-like gait. “A Spanish woman of forty appears twice as old,” says Goltz.

Thus we see that for perfect and permanent Beauty _all_ its sources must be kept open and utilised.

Attention must finally be called to one feature of Andalusian Beauty which all tourists emphasise, namely, the small stature of the women, to which they largely owe their exceptional grace of gait. And there are reasons for believing that the perfected woman of the millennium will resemble the Andalusian Brunette, not only in complexion, hair, eyes, gait, and tapering plumpness of figure, but also in stature. In other words, it seems that Sexual Selection is evolving the _petite_ Brunette as the ideal of womanhood.

Among the ancient Greeks who were not swayed by Romantic Love, Amazons were greatly admired, as previously noted; and Mr. Gladstone remarks that “stature was a great element of beauty in the view of the ancients, for women as well as for men; and their admiration of tallness, even in women, is hardly restrained by a limit.”

From this Greek predilection modern æsthetico-amorous Taste differs, for several weighty reasons. The first is that a very tall and bulky woman, though she may be stately and majestic, cannot be very graceful; and Grace, as we know, is as potent a source of Love as formal Beauty. Again, there is something incongruous and almost comic in the thought of a very large woman submitting to Love’s caresses; and _le ridicule tue_. Thirdly, great stature is rarely associated with delicate joints and extremities. But the principal reason why the modern lover disapproves of Amazonian women, mental and physical, is because they are quasi-masculine. Romantic Love tends to differentiate the sexes in stature as in everything else. True, Mr. Galton, after making observations on 205 married couples, came to the conclusion that “marriage selection takes little or no account of shortness and tallness. There are undoubtedly sexual preferences for moderate contrasts in height; but the marriage choice appears to be guided by so many and more important considerations that questions of stature exert no perceptible influence upon it.... Men and women of contrasted heights, short and tall or tall and short, married just about as frequently as men and women of similar heights, both tall or both short; there were 32 cases of one to 27 of the other.”

But Mr. Galton’s argument is rather weak. He admits that “there are undoubtedly sexual preferences for moderate contrast in height”; and his own figures show 32 to 27 in favour of mixed-stature marriages, in most of which the women must have been shorter, owing to the prevalent feminine inferiority in size. And in course of time the elimination of non-amorous motives of marriage will assist the law of sexual differentiation in suppressing Amazons.

The modern masculine preference for _petite_ female stature is, furthermore, attested by an irrefutable philological argument which will be found in the following citation from Crabb’s _English Synonymes_: “_Prettiness_ is always coupled with simplicity; it is incompatible with that which is large; a tall woman with masculine features cannot be _pretty_. _Beauty_ is peculiarly a female perfection; in the male sex it is rather a defect; a man can scarcely be _beautiful_ without losing his manly characteristics, boldness and energy of mind, strength and robustness of limb; but though a man may not be _beautiful_ or _pretty_, he may be _fine_ or _handsome_.” “A woman is _fine_ who with a striking figure unites shape and symmetry; a woman is _handsome_ who has good features, and _pretty_ if with symmetry of feature be united delicacy.”

Burke believed that it is possible to fall in love with a very small person, but not with a giant. There is, indeed, a natural prejudice in the modern mind against very tall statue even in men. Thus, we read in Fuller’s _Andronicus_: “Often the cockloft is empty in those whom Nature hath built many stories high”; and Bacon is reported to have said that “Nature did never put her precious jewels into a garret four stories high, and therefore that exceeding tall men had ever very empty heads.” An apparent scientific confirmation of this belief is found in Professor Hermann’s _Nervensystem_ (ii. 195), where we read that “when the body becomes abnormally large, the brain begins to decrease again, relatively, as Langer found in measuring giant skeletons.” And, another sign of regression is found in the fact that tall men are apt to have relatively too have jaws.

GERMAN AND AUSTRIAN BEAUTY

Although the Germans of to-day are by no means a pure and distinct race, they are less thoroughly and variously mixed than most other European nations; and this is one of the main reasons why Personal Beauty is comparatively rare in the Fatherland. It is rarest in the northern and central regions, where the original Blonde type is best preserved, and becomes more frequent the nearer we approach the Brunette neighbours of Germany—Italy, Austria-Hungary, and Poland—whose women have been aptly called “the Spaniards of the north.” France forms an exception. There, thanks to the imprisonment of Cupid, ugliness is so rampant that intermarriage only intensifies the natural homeliness,—a fact of which any one may convince himself by spending a few days in the borderland between France and Germany.

Partly owing to this lack of variety in the national composition of the Germans, partly to the custom of chaperonage, Romantic Love has not as wide a scope of selective action as elsewhere; and as if these impediments to the increase of Beauty were not sufficient, they are augmented in a wholesale fashion by the parental illusion that the Love-instinct is a less trustworthy guide to a happy marriage than “Reason,” _i.e._ the consideration that the bride has a few thousand marks and belongs to the same social clique as the bridegroom. Like their French neighbours, the Germans in these cases forget the claims of the _grandchildren_ to Health and Beauty—_i.e._ the harmonious fusion of the complementary parental qualities by which Love is inspired.