This first beauty, thus formed by nature solely and in virtue of the laws of necessity, I shall distinguish from that which is regulated upon conditions of liberty, in calling it, if allowed, beauty of structure (architectonic beauty). It is agreed, therefore, to designate under this name that portion of human beauty which not only has as efficient principle the forces and agents of physical nature (for we can say as much for every phenomenon), but which also is determined, so far as it is beauty solely, by the forces of this nature. Well-proportioned limbs, rounded contours, an agreeable complexion, delicacy of skin, an easy and graceful figure, a harmonious tone of voice, etc., are advantages which are gifts of nature and fortune: of nature, which predisposed to this, and developed it herself; of fortune, which protects against all influence adverse to the work of nature. Venus came forth perfect and complete from the foam of the sea. Why perfect? because she is the finished and exactly determined work of necessity, and on that account she is neither susceptible of variety nor of progress. In other terms, as she is only a beautiful representation of the various ends which nature had in view in forming man, and thence each of her properties is perfectly determined by the idea that she realizes; hence it follows that we can consider her as definitive and determined (with regard to its connection with the first conception) although this conception is subject, in its development, to the conditions of time. The architectonic beauty of the human form and its technical perfection are two ideas, which we must take good care not to confound. By the latter, the _ensemble_ of particular ends must be understood, such as they co-ordinate between themselves towards a general and higher end; by the other, on the contrary, a character suited to the representation of these ends, as far as these are revealed, under a visible form, to our faculty of seeing and observing. When, then, we speak of beauty, we neither take into consideration the justness of the aims of nature in themselves, nor formally, the degree of adaptation to the principles of art which their combination could offer. Our contemplative faculties hold to the manner in which the object appears to them, without taking heed to its logical constitution. Thus, although the architectonic beauty, in the structure of man, be determined by the idea which has presided at this structure, and by the ends that nature proposes for it, the æsthetic judgment, making abstraction of these ends, considers this beauty in itself; and in the idea which we form of it, nothing enters which does not immediately and properly belong to the exterior appearance.