BEAUTY
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and children, to public institutions and societal
laws, to scientific theories and philosophical sys-
tems, and finally to Beauty itself. Thus Beauty is
the harmonizing structure that give things their in-
tegrity, we desire it above all else, and in its pres-
ence we are able to create things of enduring
worth. It is both the measure of our good and the
enkindling agent for its accomplishment. Western
notions of beauty since Plato are but a series of
footnotes to these linked notions.
Objective interpretations
Aristotle emphasizes the notion of structure: The
beauty of a thing lies in its formal and final causes,
in the imposition of appropriate ordering princi-
ples of symmetry and unity upon indeterminate
matter. He argues that for a work of art, such as a
tragedy, to be excellent it must adhere to proper
unities of time, place, and narrative sequence. Plot-
inus (205–270
C.E.) emphasizes the notion of
beauty’s lure, the ascent by its means to the time-
less. Beauty is not merely symmetry and unity; it is
a power irradiating them, for which we yearn and
through which we can transcend that about us
which is perishing. The early Christian theologian
Augustine of Hippo (354–430
C.E.) identifies this
power as God, through the beauty of whose Word
our restless selves find salvation’s rest.
Hence in Christianity, as in most religions, the
actions and objects associated with worship are as
beautifully crafted as possible, their beauty having
the power to draw believers into the presence of
the holy. Islam excludes the use of images, how-
ever, as did early radical Protestantism, finding
them distractions rather than inducements. Con-
trast, for example, the severe elegance of Islam’s
Dome of the Rock mosque, or a clear-windowed
New England Puritan church with the sculptured
figures on the facade of the Roman Catholic cathe-
dral at Chartres, or the ballet of icons and censors
at a Russian Orthodox Eucharist.
Thomas Aquinas uses the beauty people see in
the world around them, their sense of how things
fit together, as a proof for the existence of God.
Because they act together so as to attain the best
result, they must be directed by a purposive being,
as the arrow is directed by the archer. The ultimate
source of such purposiveness is God. In the eigh-
teenth century, William Paley (1743–1805) revived
Aquinas’s “argument from design,” adapting it to
the natural order described by Newtonian science.
The well-ordered mechanistic intricacy of the
world results from laws that cannot be fortuitous:
the precision of a watch entails a watchmaker; the
precision of the universe entails a God. People
were no longer brought into God’s presence
through beauty, but from the beauty of nature at
least it could be inferred that there must be a God
who had created it.
The tendency since the rise of modern science,
however, is to claim that nonsensible principles
such as Beauty, although still timeless and neces-
sary, are no longer understood as supernatural:
they are the laws of nature. The Enlightenment
philosophe Denis Diderot (1713–1784), for in-
stance, defines beauty as the relations things pos-
sess by virtue of which we are able to understand
nature in its genuine objectivity. Classicism in the
arts is the claim that the timeless laws manifest in
nature imply that there are rules derivable from
those laws that apply to each artistic genre and
that only if those rules are respected will the artist’s
work be beautiful. Similarly, scientists often argue
that a machine works beautifully if it has been well
designed, if its parts operate so that it fulfills its
function smoothly and efficiently. The laws gov-
erning what works beautifully are themselves
beautiful, and therefore laws that lack beauty are
not likely to be adequate descriptions of what
works. In this sense, a criterion of simplicity is
often included in the conditions by which to assess
a scientific hypothesis. For many purposes,
Ptolemy’s (90–168
C.E.) astronomy may be descrip-
tively and predictively accurate, but its array of cir-
cles and epicycles are unnecessarily complicated
and mathematically awkward compared to Jo-
hannes Kepler’s (1571–1630) elegant ellipses. As
William of Ockham (c. 1280–c. 1349) insisted, one
should not multiply theoretical entities beyond ne-
cessity. Truth and Beauty, it would seem, have
much in common after all.
Many thinkers, however, including most non-
Western theorists, reject the notion that beauty is a
universal objective reality. They argue that it is dif-
ferent in each of its instances. Beauty is the unique
character of a thing, the way in which its specific
elements are specifically related. The creation or
the study of beautiful things is not a science but an
art: conducting a tea ceremony, achieving inner
peace through meditation or in action, freeing a
statue from the marble block, telling an edifying