FINE ARTS.

HAY'S GEOMETRIC BEAUTY OF THE HUMAN FICIURE.••

MR. HAY'S investigations into the principles of colour and proportion are already known in the world of art and science, and have given rise to no

small amount of discussion. His present work proceeds in extension Of that on the Greek ideal of the human head and countenance. The funda- mental principle there announced is here applied to establish a theory of proportion for the whole human figure, and generally for the arts based on form.

The theory is stated by Mr. Hay as follows—

"The author lays down as his first position, that the eye is influenced in its estimation of spaces by a simplicity of proportion similar to that which guides the ear in its appreciation of sounds. And the second position he lays down is, that the eye is guided in its estimate by direction rather than by distance, just as the ear is guided by number rather than magaitude of

vibrations. He therefore attributes the vague and unsatisfactory inferences to which other methods have led, to the circumstance of length and not direction having been taken as the standard of comparison—to the at- tempted application of linear, not of angular proportion ; a mistake com- mitted by the author himself in some of his earlier works."

Acting on this hypothesis, Mr. Hay proceeds to assimilate an angular scale of form to the diatonic scale in music ; that is, he divides the right angle of ninety degrees in the same proportions as produce "the

harmonics of sound through the spontaneous division of the string of the monochord." This system he applies to the construction of "the rec-

tilinear skeleton of an octostyle Doric portico, similar to that of the Par- thenon "; exemplifies it in various forms of foliage ; and lastly, develops it as the principle of geometric beauty in the human form. (Here we may remark that some discrepancies occur between the text and the plates respecting the letters used in the illustrative examples.) Diagrams are given bearing a proximate resemblance to the front and side aspects of the figure : the adaptation of these is shown first to the actual skeleton, then to the skeleton clothed with those muscles which help to supply the ap- pearance of the living body ; the lines already in use sufficing to deter- mine the position of parts belonging solely to the external structure. The

figures are both male and female, in the proportion of a Hercules to a Venus and the same law, with modifications in harmonic ratio, is shown applicable to both. A reduced copy of a carefully-measured drawing from a female model is also given in the appendix ; and its correspondence with the lines of the diagram, save in a few points reasonably accounted fur, is demonstrated by actual experiment.

Mr. Hay cautions his readers against imagining that he assumes the simple practice of geometric rules of proportion to result in works of high art. Rules may assist creation, but they are impotent to create. We think be might more aptly have addressed this warning to his critics. 'Phat such objections have been advanced in print we are aware; but we doubt much whether any such notion can be taken up by a candid reader,

willing to understand and not seeking occasion to cavil. On the other hand, Mr. Hay seems to us to bring forward an unfortunate analogy in

comparing the benefit which Phidias may have derived from the science of

proportion to the increased excellence of Pope's poetry consequent on "certain definite rules." If the advantage were only so great, the "system

of (esthetic proportion" would not only not imply but would obstruct

the development of high art. But, in truth, the art of design—we do not mean the power of conception—is far more a thing to be acquired than

the art of poetry : its rules are stringent, in many respects next to me- chanical; and any process tending the more to reduce them to certainty se really a service to the student

That Mr. Hay's theory is adequate to determine the formation of a very sufficient skeleton, and thence of a perfectly allowable human figure, is a fact scarcely to be controverted: the examples are before us to prove it. But when we are called upon to affirm with the weight of conviction that it is a discovery of the absolute truth of proportion, any swerving from which is inferiority by so much, we hesitate. It is admitted—as indeed • The Geometric Beauty of the Human Figure Defined. To which is prefixed, a System of Esthetic Proportion applicable to Architecture and the other Formatfts Arts. By D. B. Hay, Y1L8.E. Published by Blackwood and Sons.

it could not possibly be deniod or concealed-that the forms given by this system are not universal ; they themselves alldw of numberless mo- difications. How, then, may they be established the highest? The an- swer is substantially-" Because they result from the assimilation of pro- portional to harmonic laws " : for the fundamental hypotheses, "that the eye is influenced in its estimation of spaces by a simplicity of propor- tion similar to that which guides the car in its appreciation of sounds," and "that the eye is guided in its estimate by direction rather than by distance," amount in fact to a synopsis of the entire theory. The question then arises-" How prove this principle of assimilation to be correct ?" the only definite reply to which appears to be, that experiment proves it to result in the highest form : and the inquirer is thrown back again on his first question. Is not this, in a manner, arguing in a circle ? It is true that Mr. Hay traces a similarity "between the physical con- stitution of the organs" of sight and hearing. "The optic nerve," he says, after describing in general terms the action of sound and of light,

- - - - "like the auditory nerve, ends in a carefully protected fluid, which is the last of the media interposed between this peculiarly subtile action and the nerve upon which it impresses the presence of the object from which it is reflected, or through which it is transmitted, and the nature of such ob- ject made perceptible to the mind. The eye and the ear are therefore, in one essential point, similar in their physiology relatively to the means pro- vided for receiving impressions from external nature; and accordingly, it is but reasonable to believe that the impressions received through these dif- ferent organs are governed by the same laws.

"It shall be my endeavour to prove that this belief is well founded, by showing that the (esthetic impressions produced by sound and by light are dependent on a common law of simple numerical ratio. But before proceed- ing to do this, I may remark, that Sir Isaac Newton was impressed with a similar belief as to the identity of the laws by which beauty of sound and of

form are made perceptible. I am inclined,' says that great philosopher, 'to believe that some general laws of the Creator prevailed with respect to the agreeable or unpleasing affections of all our senses : at least the supposi- tion does not derogate from the wisdom or power of God, and seems highly consonant to the simplicity of the microcosm in general.'" But, while recognizing the analogy as stated, and doing homage to the authority of Sir Isaac Newton's suggestion, we think it will be conceded that the assumptive hypothesis here is such as cannot in its present state lead to an authoritative deduction. Mr. Hay appeals to the symmetrical excellence of ancient Greek sculpture, architecture, and decoration, and to the facts which research has collected concerning them, to prove that they were produced according to a known theory of proportion. After constructing with seven harmonic angles his diagram of the "leading pro- portions" of the Parthenon portico, he observes, that even although actual measurement should prove these to be "only an approximation, yet it is sufficiently close to warrant a belief that a similar system had been practised by the ancient Greeks." We submit, that previous to po- sitive verification of these proportions, such belief cannot be justified unless it shall be shown that no other geometrical process would produce SO much as an approximation : and this is not attempted.

In demurring to express unqualified assent to Mr. Hay's system, we desire, however, to acknowledge its claims as a highly ingenious, credible, and consistent theory. The work is a valuable contribution to the science of art ; and, if we cannot regard its positions as fully proved, we recog- nize in them analogy confirmed by experiment and experiment justified by analogy.