possibilities of such a scale altogether when one begins to consider
that there are varieties and types of beauty having very wide
divergences and made up of a varying number of elements in dissimilar
proportions. There is, for example, the flaxen, kindly beauty of the
Dutch type, the dusky Jewess, the tall, fair Scandinavian, the dark and
brilliant south Italian, the noble Roman, the dainty Japanese--to name
no others. Each of these types has its peculiar and incommensurable
points, and within the limits of each type you will find a hundred
divergent, almost unanalyzable, styles, a beauty of expression, a
beauty of carriage, a beauty of reflection, a beauty of repose, arising
each from a quite peculiar proportion of parts and qualities, and
having no definable relation at all to any of the others. If we were to
imagine a human appearance as made up of certain elements, a, b, c, d,
e, f, etc., then we might suppose that beauty in one case was attained
by a certain high development of a and f, in another by a certain
fineness of c and d, in another by a delightfully subtle ratio of f and
b.

A, b, c, d, e, F, etc.
a, b, _c_, _d_, e, f, etc.
a, _b_, c, d, e, _F_, etc.,

might all, for example, represent different types of beauty. Beauty is
neither a simple nor a constant thing; it is attainable through a
variety of combinations, just as the number 500 can be got by adding or
multiplying together a great variety of numerical arrangements. Two
long numerical formulae might both simplify out to 500, but half the
length of one truncated and put end on to the truncated end of the
other, might give a very different result. It is quite conceivable that
you might select and wed together all the most beautiful people in the