Beauty (n.) is a momentary redemption from the will, above all from sexuality, its focal point.
Beauty (n.) in a living thing measures how completely it has subdued the lower forces in it and so expressed its Idea.
Beauty (n.) captivates because it is nature's thought of a whole species — a principal thought, while the individual is only a corollary.
Beauty (n.) of antique vessels comes from their expressing so naively what they are meant to be and do — as if nature itself had produced vases, lamps and shields.
Beauty (n.) belongs to everything, since everything expresses an Idea; one thing is more beautiful than another only because it makes will-less contemplation easier, even compels it.
Beauty (n.) in a woman fills a man with the ecstasy of imagined happiness — which is simply the sense of the species, guarding its type; this is why beauty has such power.
Beauty (n.) in a human face is the will at its highest grade made visible, and so it lifts us fastest out of ourselves: no evil can touch him who looks on human beauty.
Beauty (n.) cannot be assembled from parts — a knee here, an arm there — for how would the artist know which parts are beautiful? We recognise it only because we ourselves are the will it expresses.
Beauty (n.) in girls is Nature's "striking effect": a few years of charm bought at the expense of the rest of life, just long enough to ensnare a man into lifelong care — as the female ant sheds her wings after mating.