Summary

Portrait of Richard Le Gallienne Richard Le Gallienne The Yellow Book, Volume 13 — Two Prose Fancies (1897)

In a sense all beauty is that, but in the case of the regular, so to say, authorised beauty, it seems considerably less so. For in such faces, the old beauty-masters will tell you, the brow is of such a breadth and shape, the nose so long, the mouth shaped in this way, and the eyes set and coloured in that; and thus, of this happy marriage of proportions, beauty has been born. This they will say in spite of the everyday fact of thousands of faces being thus proportioned and coloured without the miracle taking place, ivory lamps in which no light of beauty burns.
Source: Wikisource

Portrait of Richard Le Gallienne Richard Le Gallienne The Yellow Book, Volume 13 — Two Prose Fancies (1897)

Well, as no one would dream of art-criticism by plébiscite, why should universal conventions of the beauty of women find so large an acceptance merely because they are universal? There are vast multitudes, no doubt, who deem the scented-soap beauties of Bouguereau more beautiful than the strange ladies of Botticelli, and, were you to inquire, you would discover that your housemaid wonders to herself, as she dusts your pictures to the sound of music-hall song, what you can see in the plain lean women of Burne-Jones, or the repulsive ugliness of "The Blessed Damosel."
Source: Wikisource

Portrait of Richard Le Gallienne Richard Le Gallienne The Yellow Book, Volume 13 — Two Prose Fancies (1897)

For indeed much beauty that was asleep fifty years ago has been passionately awakened and given a sceptre and a kingdom since then: the beauty of lonely neglected faces that no man loved, or loved only by stealth, for fear of the mockery of the blind, the beauty of unconventional contours and unpopular colouring, the beauty of pallor, of the red-haired, and the fausse maigre. The fair and the fat are no longer paramount, and the beauty of forty has her day.
Source: Wikisource

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