Our perception of beauty consists in our recognition by the sense of vision of those objects, first, which have before inspired our love by the pleasure, which they have afforded to many of our senses:  as to our sense of warmth, of touch, of smell, of taste, hunger and thirst; and, secondly, which bear any analogy of form to such objects.

When the babe, soon after it is born into this cold world, is applied to its mother’s bosom; its sense of perceiving warmth is first agreeably affected; next its sense of smell is delighted with the odour of her milk; then its taste is gratified by the flavour of it:  afterwards the appetites of hunger and of thirst afford pleasure by the possession of their objects, and by the subsequent digestion of the aliment; and, lastly, the sense of touch is delighted by the softness and smoothness of the milky fountain, the source of such variety of happiness.

All these various kinds of pleasure at length become associated with the form of the mother’s breast; which the infant embraces with its hands, presses with its lips, and watches with its eyes; and thus acquires more accurate ideas of the form of its mother’s bosom, than of the odour and flavour or warmth, which it perceives by its other senses.  And hence at our maturer years, when any object of vision is presented to us, which by its waving or spiral lines bears any similitude to the form of the female bosom, whether it be found in a landscape with soft gradations of rising and descending surface, or in the forms of some antique vases, or in other works of the pencil or the chissel, we feel a general glow of delight, which seems to influence all our senses; and, if the object be not too large, we experience an attraction to embrace it with our arms, and to salute it with our lips, as we did in our early infancy the bosom of our mother.  And thus we find, according to the ingenious idea of Hogarth, that the waving lines of beauty were originally taken from the temple of Venus.

This animal attraction is love; which is a sensation, when the object is present; and a desire, when it is absent.  Which constitutes the purest source of human felicity, the cordial drop in the otherwise vapid cup of life, and which overpays mankind for the care and labour, which are attached to the pre-eminence of his situation above other animals.

It should have been observed, that colour as well as form sometimes enters into our idea of a beautiful object, as a good complexion for instance, because a fine or fair colour is in general a sign of health, and conveys to us an idea of the warmth of the object; and a pale countenance on the contrary gives an idea of its being cold to the touch.

It was before remarked, that young animals use their lips to distinguish the forms of things, as well as their fingers, and hence we learn the origin of our inclination to salute beautiful objects with our lips.  For a definition of Grace, see Class III. 1. 2. 4.