The exposition of the different organization of Greek and Roman heads.--Ibid. The explanation of the combinations and transitions of beauty.--Chapter XVI. The explanation of the numerical, geometrical, and harmonic methods of proportion, employed by the ancient Greeks.--Chapter XVII. Some remarks on character, expression, and detail in art.--Ibid. Some observations on the Greek forehead, actual as well as ideal.--Chapter XVIII. The explanation of the reason of the Greek ideal rule, as to the proportion between the forehead and the other parts of the face.--Ibid. The explanation of the reason of the Greek ideal rule, as to the profile of the forehead and nose, or as to the direction of the mesial line which they form, and the exposition of Winckelmann's blunder respecting it.--Ibid. The explanation of the reason why the Greeks suppressed all great degrees of impassioned expression.--Ibid. The mere indication of the Greek idealizations as applied to the nutritive and locomotive systems, and the explanation of the latter in the Apollo.--Ibid. The replies to the objections of Burke and Alison, as to ideal beauty.--Ibid. The enunciation of the ideal in attitude.--Ibid. Various views as to the Venus de Medici, the conformation of the nose, and the connexion of odor with love, in animals and plants.--Chapter XIX. Some remarks on the Venus de Medici.--Ibid. The pointing out and explanation of various defects in beauty.--Chapter XX. The pointing out and explanation of various external indications of figure, beauty, mind, habits, and age.--Chapter XXI. The writer may possibly be mistaken as to the originality of one or two of these points; but, leaving the critical reader to deduct as many of these as it is in his power to do, enough of novelty would remain for the writer's ambition, in this respect, if he had done no more than exposed the errors of Burke, Knight, Alison, &c., and established the true doctrine of beauty, in the first chapters--given an analysis and classification of beauty in woman, in the chapters which follow--and applied this to the fine arts, and solved the difficulty of Leonardo da Vinci, &c., in the last chapters. ANALYSIS AND CLASSIFICATION OF BEAUTY IN WOMAN. CHAPTER I. IMPORTANCE OF THE SUBJECT.