In vain would you look for it in the circle, or seek it, either by your senses or by mathematical reasoning, in all the properties of that figure.
Attend to Palladio and Perrault, while they explain all the parts and proportions of a pillar.

They talk of the cornice, and frieze, and base, and entablature, and shaft, and architrave; and give the description and position of each of these members.

But should you ask the description and position of its beauty, they would readily reply, that the beauty is not in any of the parts or members of a pillar, but results from the whole, when that complicated figure is presented to an intelligent mind, susceptible to those finer sensations.

Till such a spectator appear, there is nothing but a figure of such particular dimensions and proportions: from his sentiments alone arise its elegance and beauty.
Again; attend to Cicero, while he paints the crimes of a Verres or a Catiline.

You must acknowledge that the moral turpitude results, in the same manner, from the contemplation of the whole, when presented to a being whose organs have such a particular structure and formation.