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Psychic, horoscope, zodiac, tarot, astrology, numerology, palmistry, compatibility, life, soul, love, crystals, magic, tarot, card, reading, symbol, prediction, future
Woman, girl, model, fashion, design, dress, shoe, watch, jewelry, runway, beauty, makeup, perfume, skincare, health, spa, massage, supplement, therapy
adj.
1. Having qualities that delight the senses, especially the sense of sight.
2. Excellent; wonderful.
beautifully beau'ti·ful·ly adv.
beautifulness beau'ti·ful·ness n.
SYNONYMS beautiful, lovely, pretty, handsome, comely, fair. All these adjectives apply to what excites aesthetic admiration. Beautiful is most comprehensive: a beautiful child; a beautiful painting; a beautiful mathematical proof. Lovely applies to what inspires emotion rather than intellectual appreciation: “They were lovely, your eyes” (George Seferis). What is pretty is beautiful in a delicate or graceful way: a pretty face; a pretty song; a pretty room. Handsome stresses poise and dignity of form and proportion: a very large, handsome paneled library. “She is very pretty, but not so extraordinarily handsome” (William Makepeace Thackeray). Comely suggests wholesome physical attractiveness: “Mrs. Hurd is a large woman with a big, comely, simple face” (Ernest Hemingway). Fair emphasizes freshness or purity: “In the highlands, in the country places,/Where the old plain men have rosy faces,/And the young fair maidens/Quiet eyes” (Robert Louis Stevenson).
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One of three C18 aesthetic categories, with the Picturesque and the Sublime. Edmund Burke, in his A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1756), perhaps the most influential C18 English work on aesthetics, especially in the 1757 expanded edition, did not accept that architectural Beauty was connected with proportions of an idealized human body, denied that there was any ‘inner sense’ of Beauty, and argued against the notion of mathematical means of measuring it. Beauty was a property which causes love, and consisted of relative smallness, smoothness, absence of angularity, and brightness of colour. Sir Uvedale Price and Richard Payne Knight held that the Beautiful had a smooth, undulating appearance, with no harshness, surprises, or broken lines, a concept which they applied to landscapes. Archibald Alison (1757–1839) believed that architectural Beauty of proportion was dependent upon an association of fitness of form, shape, size, and scale for the function. Apprehension of the Beautiful should be accompanied by pleasure, which Alison defined as the ‘emotion of Taste’. See Kant.