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While the author, N.H., is anonymous, this writing can be used as an example of what many manuals written by male authors for female readership prescribed, offering guidance on achieving the idealised feminine aesthetic through cosmetics, fashion, and grooming practices.

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A sex manual, translated from Michel Millot's French text and published in English in 1680. The book very explicitly discusses sex and engagement in it, but also lays out what was considered sexy in the early modern period.

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A set of companion prints published by Carington Bowles, portraying a juxtaposition of the plebeian and the high class prostitute.

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While the author of this specific poem is unidentified, it is written from the perspective of a man talking about the physical traits an ideal woman in Early Modern England would possess.

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The use of vulgar language such as "little inclined to fat", "hard breasts" and "skin... so filled with flesh that it hang not loose" clearly demonstrates how important men felt beauty and appeal was for sexual desirability. Reducing the description of a 'perfect' women to just their physicality objectifies women completely and perpetuates already existing power dynamics between men and women in terms of sex and relationships.

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The print contains a image of the high class 'perfect' prostitute so to speak. The brothel resident is portrayed as stylish and the epitome of eighteenth-century appeal. Her petite and soft features present her as beautiful paired with her gentle demeanour portrays an image of niceness and politeness, highlighting how beauty was associated with goodness and virtue.

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This prostitute is presented as less pleasant. Her physicality, such as her rounder body and face, dark features, and dishevelled clothing, are the opposite of the early modern beauty standard. On top of this, the artist continues to portray her in a negative light, by surrounding her with undesirable conditions.

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Both women are prostitutes but are shown in completely different lights - one is seen as more "acceptable" than the other due to her physical appeal, showing the importance to which men held female beauty.

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In this text it is declared that the ideal lady was slim and blonde, with broad buttocks, small breasts, a small nose, and red lips. The author goes as far to conclude that if a woman is devoid of these qualities, then he does not desire her, highlighting just how important 'beauty' was to men of the time.

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In conclusion, the works created by men in early modern England portrayed chauvinistic views and thus exacerbated gender inequality. These sources show how women were reduced to their physicality by men. How they were perceived was based on how well they could conform to Male beauty standards, thereby showing why women of the time felt they had to adhere.

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- Women, Beauty and Power in Early Modern England: A Feminist Literary History, by Edith Snook

- To see and to be seen : beauty in the early modern London street, by Anu Korhonen,

- Plain Ugly: The Unattractive Body in Early Modern Culture, by Naomi Baker

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Within these beauty prescriptions and standards shown in the work are deeper implications of control and conformity. Women were encouraged to mould themselves according to male-defined standards of attractiveness, perpetuating a cycle of objectification and subjugation. By adhering to these beauty norms, women were not only expected to enhance their physical appearance but also to uphold the patriarchal order that governed their lives.

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Studying historical male perceptions of feminine beauty provides valuable insights into gender dynamics, cultural norms, and societal power structures. Throughout history, men have often played a central role in shaping beauty ideals, reflecting prevailing social attitudes and reinforcing patriarchal systems. Analysing these perceptions allows us to uncover the ways in which beauty standards have been used to uphold gender inequality and perpetuate social hierarchies. By examining historical sources such as literature and art, we can trace the evolution of beauty ideals and understand their underlying ideologies.

In her work, Snook examined this topic but specifically through evaluating writing produced by women (Women, Beauty and Power in Early Modern England: A Feminist Literary History, Edith Snook). This exhibition will instead be focusing on male works, as due to the power imbalance of the time, their perspective can be interpreted as a more true reflection of societal standard.

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By centring male perceptions, we also gain insight into the construction of gendered power dynamics. Understanding male attitudes towards feminine beauty sheds light on the complexities of gender roles and expectations. Male depiction of attractive feminine features did not only reflect what was found appealing, but also revealed how women were actually expected to aim to adhere to these standards. While we can study the lives and writings of early modern women to see how and if they did conform as Snook did, such evaluation would not be possible if we do not explore the ideas of what was actually believed to be the desirable to begin with.

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Historian Korhonen highlights how ‘women were objectified as a usable commodity’, with men choosing how to treat women based on how attractive they found them (To see and to be seen : beauty in the early modern London street, Anu Korhonen). While in more tame works such as poems or beauty manuals we can already see the objectification of women by men, more explicit and even violent works such as School of Venus degrade them completely, reducing them completely to their physical appearance. Appearance was considered important not only because attractiveness was appealing, but also because many linked appearance to identity. Baker points out how ugliness is linked with ‘moral corruption’ and ‘illness’, readings of the ‘ideal female form, by contrast, yoke beauty with goodness’ (Plain Ugly: The Unattractive Body in Early Modern Culture, Naomi Baker).

Studying this male gaze and its portrayal in men’s works is therefore particularly important, as we not only get an idea about how men were prepared to treat women based on their appearance, but also why and how these beauty ideals meant gender inequality and the poor treatment of women was exacerbated.

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Ultimately, studying historical male perceptions of feminine beauty offers a nuanced understanding of gender, power and cultural identity. It allows us to critically engage with societal norms, challenge entrenched ideologies and strive for a more inclusive conception of beauty.