"The same observation," says Alison, "is yet still more obvious with regard to the difference of sex. In every part of the form, the proportions which are beautiful in the two sexes are different; and the application of the proportions of the one to the form of the other, is everywhere felt as painful and disgusting." So also says Burke: "Let us rest a moment on this point; and consider how much difference there is between the measures that prevail in many similar parts of the body, in the two sexes of this single species only. If you assign any determinate proportions to the limbs of man, and if you limit human beauty to these proportions, when you find a woman who differs in the make and measure of almost every part, you must conclude her not to be beautiful in spite of the suggestions of your imagination; or in obedience to your imagination you must renounce your rules; you must lay by the scale and compass, and look out for some other cause of beauty. For, if beauty be attached to certain measures which operate from a principle in nature, why should similar parts with different measures of proportion be found to have beauty, and this, too, in the very same species?" To this I might say the beauty of woman is not the highest beauty: it is beauty of the nutritive more than of the higher thinking system. But there is another and a better answer: the difference of sex which affects all the higher animals is a greater difference than that which subsists between some of their varieties or even of their species; and the same laws of ideal beauty are as inapplicable to different sexes as to different species. "We see, every day, around us," says Alison, "some forms of our species which affect us with sentiments of beauty. In our own sex, we see the forms of the legislator, the man of rank, the general, the man of science, the private soldier, the sailor, the laborer, the beggar, &c. In the other sex, we see the forms of the matron, the widow, the young woman, the nurse, the domestic servant, &c.... We expect different proportions of form from the painter, in his representation of a warrior and a shepherd, of a senator and of a peasant, of a wrestler and a boatman, of a savage and of a man of cultivated manners.... We expect, in the same manner, from the statuary, very different proportions in the forms of Jove and of Apollo [this should have been excepted], of Hercules and of Antinous, of a Grace and of Andromache, of a Bacchanal and of Minerva," &c. That, in all these cases, the beauty is partial, is evident from the circumstance that what is found in one is wanting in another; and partial beauty is not perfect beauty. But this last point has been well stated by Reynolds and Barry.