the complexion of blooming youth, the floral creation, and the sunset sky. As in sounds, so in the case of colors, there is little doubt that the association of ideas often contributes to the pleasure received. Green, for instance, may appear more beautiful from being connected in our minds with rural scenes; white, from its being the type of innocence; and blue, from its association with the serenity of the sky.

$290. FIGURE.-Regular figures, or such as we perceive to be formed according to fixed principles, are, as a general rule, beautiful. Such is the character of circles, squares, triangles, and ellipses. The mind unconsciously connects with well-proportioned forms the idea of practical adaptation to some useful end. Regularity, however, does not involve the idea of sameness, which would tire and disgust the eye; on the contrary, variety is generally united with it in the most attractive works of nature.

Gradual variation in the parts uniting to form a whole seems to be one of the commonest sources of natural beauty. There is generally a constant change of direction in the outline; but it is so gradual that we find it difficult to determine its beginning or end. Thus, in the form of a dove, the head increases insensibly to the middle, whence it lessens gradually until it becomes blended with the neck. The neck loses itself in a larger swell, which continues to the middle of the body, whence there is a corresponding diminution towards the tail. The tail takes a new direction; but, soon varying its course, blends with the parts below and thus the outline is constantly changing.

Curves change their direction at every point, and hence afford the commonest instances of gradual variation. Circular figures, therefore, are generally more beautiful than those bounded by straight lines. This is a theory of Hogarth's, who makes beauty of figure consist chiefly in the preponderance of two curves, which he calls the line of beauty and the line of grace. The former is a waving line, inclining alternately backwards and forwards, something like the letter, It is con

case of sounds, what often contributes to the pleasure received from colors? Exemplify this in the case of green, white, and blue.

§ 290. What figures, as a general rule, are beautiful? What idea does the mind connect with well-proportioned forms? What does regularity not involve? On the contrary, in the works of nature, what is generally united with it? What is said of the atline of the most attractive natural objects? Illustrate this in the case of the dove. What figures are the most beautiful? Why? In what does Hogarth make beauty consist? Describe his line of beauty. In what does it constantly occur? Describe Hogarth's line of grace. In what is it exhibited ?

stantly occurring in shells, flowers, and other ornamental works of nature, and enters largely into the decorations employed by painters and sculptors. This curve twisted round a solid body, or having the same appearance as if it had been so twisted, constitutes the line of grace. The latter is exhibited familiarly in the cork-screw; also, in a winding stair-case, and a lady's ringlet loosely curled.

§ 291. SMOOTHNESS.-Smoothness is another quality essential to beauty. We receive pleasure from contemplating the smooth leaves of flowers, smooth slopes of earth, smooth streams in a landscape, smooth coats in birds and beasts, smooth skins in our own species, and smooth and polished surfaces in furniture. Give any beautiful object a broken and rugged surface; and, however well it may be formed in other respects, it pleases no longer.

Smoothness appeals, not only to the sight, but also to the touch. The slightness of the resistance made to that part of the body with which a smooth surface comes in contact, produces a pleasing emotion, though one of inferior degree.

§ 292. MOTION.-Other things being equal, bodies in motion are more attractive than those at rest; and such as move in undulating lines please us in a higher degree than those that undeviatingly pursue the same direction. This fact is readily accounted for by Hogarth's principle. Upward motion, moreover, affords greater pleasure than that in the opposite direction. This, together with its waving character, constitutes the beauty of curling smoke; a feature which painters are fond of introducing into their landscapes.

Motion is an element of beauty, only when gentle in its character. When very swift or forcible, it becomes sublime. The motion of a bird gliding through the air, or of a placid brook, is beautiful; that of the lightning as it darts from heaven, or a mighty river chafing against its banks, partakes rather of sublimity.

291. What other quality is essential to beauty? In what natural objects is it found? What results from giving any beautiful object a rugged surface? To what rense besides sight does smoothness appeal? Show how it produces a pleasing emotion through the touch.

§ 292. What imparts an additional attraction to bodies? What kind of motion is the most beautiful? What feature are painters fond of introducing into landscapes? In what does its beauty consist? In what case docs motion contribute to sublimity rather than beauty?

8293. SMALLNESS AND DELICACY.-As vastness and strength are elements of the sublime, so smallness and deli

cacy belong to the beautiful. The former qualities excite our astonishment and admiration; the latter, our sympathy and love. Whatever we are fond of is associated in our minds with the idea of smallness. Hence the diminutives used in every language to express affection and tenderness. So, an air of robustness and strength, however conducive to the sublime, is incompatible with the beautiful. To the latter an appearance of delicacy is essential, which may even be carried to the borders of fragility.

It is not the immense and mighty oak of the forest that we consider beautiful; but the delicate myrtle, the fragile violet, the modest forgetme-not. For the same reason we are more pleased with the slender grey-hound than the burly mastiff, and with the slight Arabian courser than the stout carriage-horse. To these qualities, too, much of woman's beauty is attributable.

§ 294. DESIGN.-Another source of beauty is found in design, as evidenced in the skilful combination of parts in a whole, or the adaptation of means to an end. So largely does this enter into the beautiful, that some have considered it the leading principle of the latter. This causes our pleasure when we contemplate the wonderful structure of the hand, and see with what nicety its many parts are adjusted, to form a member unequalled in strength, flexibility, and usefulness.

The pleasure arising from the sense of design is entirely distinct from that produced by the various qualities described above. Thus, in a watch, we recognize beauty in the exterior, by reason either of the color, polish, smoothness, or regularity of shape; but the pleasure pro

§ 293. As regards size, what is essential to the beautiful? What feelings are excited by vastness and strength? What, by smallness and delicacy? What idea do we associate with beloved objects? What are diminutives in every language used to express ? What effect has an air of robustness and strength? Illustrate this. To what is much of woman's beauty attributable?

§ 294. In what is another source of beauty found? What causes our pleasure when we contemplate the wonderful structure of the hand? In the case of a watch, show Low distinct emotions of pleasure are produced by the before-mentioned qualities and

duced by an examination of the internal machinery arises entirely from our consciousness of design, our appreciation of the admirable skill with which so many complicated pieces are united for one useful purpose.

This element has an influence in the formation of many of our opin ions. It is the foundation of the beauty which we discern in the proportions of doors, arches, pillars, and the like. However fine the ornaments of a building may be, they lose most of their attractions, unless, either in appearance or reality, they conduce to some useful end.

This principle should be constantly borne in mind by the composer. In a poem, a history, an oration, or any other literary work, unity of design and an adjustment of the parts in one symmetrical whole, are as essential to effect as in architecture and other arts. The finest descriptions and most elegant figures lose all their beauty, or rather become actual deformities, unless connected with the subject, and consistent with the leading design of the writer. Let the object proposed be constantly kept in view, and nothing foreign to it, however beautiful in itself, be introduced to distract the attention.

295. Such are some of the leading elements of beauty, possessed, in different measures, by the various creations of nature and art. Some objects combine them all, and thereby become attractive in the highest degree. Thus, in flowers and birds, we are entertained at once with color, regularity of form, unity in variety, smoothness, delicacy, and, at times, motion. Different sensations are produced by each of these qualities; yet they blend in one general perception of beauty.

The most beautiful object that nature presents is a landscape, which combines, in rich variety, luxuriant fields, picturesque trees, running water, birds skimming the air, animals moving in the pasture, and human figures as the climax of the whole. The charms of the picture are enhanced by the judicious introduction of the creations of art,—an arching bridge, a moss-covered cottage with graceful smoke ascending from the chimney, a busy mill, an unpretending house of worship. A taste capable of appreciating such scenes is essential to success in poetical description.

by the sense of design. How does this element influence us in the formation of our opinions? How does this principle apply to literary compositions? What must be constantly kept in view?

295. What objects are attractive in the highest degree? With what are we entertained in the case of flowers and birds? What is the most beautiful object that nature presents? What is essential to success in poetical description?

8296. There is a moral beauty, as well as a moral sub limity The latter, we have seen, characterizes great and heroic acts, self-devotion, fearlessness, and patriotism. The moral beautiful belongs to the gentler virtues, affability, gene rosity, compassion, and the like. The emotion they excite resembles that produced by beautiful external objects.

LESSON XLIV.

GRACEFULNESS.-THE BEAUTIFUL IN THE HUMAN COUNTENANCE, IN SOUND, AND IN WRITING.

8297. GRACEFULNESS.-In the effect it produces on the mind, gracefulness is analogous to beauty. This quality be longs chiefly to posture and motion. Grace requires that there should be no appearance of difficulty; that the body should not be kept rigidly erect, but slightly bent, and that its parts should be so disposed as neither to embarrass each other, nor to be divided by sharp and sudden angles. In this roundness of shape and delicacy of attitude, resides a charm which must be obvious to all who consider attentively the Venus de Medici, the Antinous, or any other great statue.

§ 298. THE BEAUTIFUL IN THE HUMAN COUNTENANCE.The beauty of the human countenance is more complicated than that belonging to most natural objects. It depends at once on color, or complexior; on figure, or outline; and on unity of design, that is, the adaptation of its various parts to the purposes for which they were formed. The chief

§ 296. What is meant by moral beauty? Wherein consists the difference be tween it and moral sublimity? What does the emotion produced by the moral beau. tiful resemble?

§ 297. What, in its effect, is analogous to beauty. To what, chiefly, does graceful. ness belong? What does it require? In what statues is it exhibited?

§ 298. How does the beauty of the human countenance compare with that o most natural objects? On what does it depend? In what does its chief beauty lie? What