appear to other beings, it would not have the character of beauty to us, if there were not a sort of correspondence, an adaptedness to each other, between our mental consti. tution and such outward object.

But no one can be ignorant that not all objects cause the emotions in question; and of those which possess this power, some have it in a greater, and some in a less degree. This brings us to a very important inquiry. It is no unreasonable curiosity which wishes to know, Why the effect is so limited, and why all objects are not embraced in it? Why different objects cause the same emotion in different degrees? And why the same objects produce a diversity of emotions in different individuals, and even in the same individual at different times?

◊ 257. A susceptibility of emotions of beauty an ultimate principle of

our mental constitution..

In answering these questions, something must be taken for granted; there must be some starting point, otherwise all that can be said will be involved in inextricable confusion. That is, we must take for granted that the mind has an original susceptibility of such emotions. Nor can we suppose there can be any objection to a concession which is warranted by the most general experience. We all know that we are created with this susceptibility, because we are all conscious of having had those emotions which are attributed to it. And if we are asked how or why it is that the susceptibility at the bottom of these feelings exists, we can only say that such was the will of the Being who created the mind, and that this is one of the original or ultimate elements of our nature.

Although the mind, therefore, is originally susceptible of emotions of beauty, as every one knows; still it is no less evident, from the general arrangements we behold, both in physical and in intellectual nature, that these emotions have their fixed causes or antecedents. We have seen that these causés are not limited to one class or kind, but are to be found under various circumstances; in the exercises of reasoning, in the fanciful creations of poetry, in musical airs, in the experiments of physics, in the forms of material existence, and the like. Perhaps

we may assert, as a general statement, (that is to say, in a great number or majority of cases,) these objects cannot be presented to the mind, and the mind be unmoved by it; it contemplates them, and it necessarily has a feeling of delight, of a greater or less degree of strength, which authorizes us in characterizing them as beautiful.

In asserting that this is correct as a general statement, it is implied that some objects do not originally cause these emotions. And hence we are led to enter into more particular inquiries, having reference to this difference, in what may be called, in the phraseology of some recent writers, the ÆSTHETIC power of objects. Accordingly, our purpose, in the remarks which are to follow, is to point out some of those objects, and forms and qualities of objects, which seem from their very nature, and in distinction from other objects which do not have this power, fitted to create within us the feelings under consideration

§ 258. Remarks on the beauty of forms.—The circle.

In making that selection of those objects and qualities of objects which we suppose to be fitted, in the original constitution of things, to cause within us pleasing emotions of themselves, independently of any extraneous aid, we cannot profess to speak with certainty. The appeal is to the general experience of men; and all we can do is to give, so far as it seems to have been ascertained, the results of that experience. Beginning, therefore, with material objects, we are justified by general experience in saying that certain dispositions or forms of matter are beautiful; for instance, the CIRCLE.

We rarely look upon a winding or serpentine form without experiencing a feeling of pleasure; and on seeing a circle, this pleasure is heightened. Hence Hogarth, who, both by his turn of mind and by his habits of life, has claims to be regarded as a judge, expressly lays it down in his Analysis of Beauty, that those lines which have most variety in themselves contribute most towards the production of beauty; and that the most beautiful line by which a surface can be bounded is the waving or serpentine, or that which constantly, but imperceptibly, deviates from the straight line. This, which we frer uent

ly find in shells, flowers, and other pleasing natural ductions, he calls the line of beauty.

§ 259. Original or intrinsic beauty. The circle.

pr..

It is necessary, in examining the subject of beauty, to lock at it in two points of view, viz., as Intrinsic and as Associated. In the remarks which we may have occasion to make in this chapter, we have reference exclusively to what may be denominated Original or Intrinsic beauty; by which we mean that which is founded in the nature of the object, independently of accidental or merely accessory circumstances. Accordingly, it is this form of beauty which we ascribe to the CIRCLE. Those objects which are circular, or approach that form, exhibiting a constantly varying outline, have in themselves, and on account of this configuration, a degree, and Lot unfrequently a high degree, of beauty. The bending stem of the tulip, the curve of the weeping willow, the windings of the ivy, the vine wreathing itself around the elm, the serpentine river, are highly pleasing. The vast circular expanse of the visible sky, when seen in a cloudless night, is a beautiful object, independently of the splendour that is spread over it by its brilliant troops of stars. The arch of the rainbow, expanding its immense curve over our heads, could hardly fail to be regarded as an object of great beauty, even if nothing but the form and outline were presented to our vision, without the unrivalled lustre of its colours. And the same of other instances, scattered in profusion through the works of nature, but too numerous to be mentioned here.

$260. Of the beauty of straight and angular forms.

Although the circular or constantly varying outline is tnought, more than any other, to excite the delightful emotions under consideration, we are not to suppose that the power of beauty is excluded from other forms. In examining the works of nature, it is hardly necessary to say that we find numerous instances of straight and angular forms, as well as of the serpentine and winding, although perhaps less frequently. It can hardly be doubted that these forms, as they are operated upon and

moulded in nature's hands, possess more cr less beauty. It is almost a matter of supererogation to attempt to illustrate this statement to those who have a heart and eye open to the great variety of her works, which on every side are presented to our notice. Her forms, either origi nal or in their combinations, are without number; and it it be true that beauty does not claim a relationship with all, it is equally so that it is not restricted to one, or even a small portion of them. The intertwining shrubbery, which spreads itself abroad upon the ground, emits, if we may be allowed the expression, its sparkles and gleams of beauty around our feet. The elm, which rises upward towards the heavens, and forms its broad and green arch over our heads, is radiant with beauty also, although it is exceedingly diverse in its appearance. We readily admit, for we cannot well do otherwise without violence to the suggestions of our nature, that the curve of the weeping willow possesses beauty. But, at the same time, we are not prepared to assert that the solitary palm-tree is absolutely destitute of it, although it displays, as it rises on the bosom of the desert, nothing but a tall, straight, branchless trunk, surmounted at the top, like a Corinthian column, by a single tuft of foliage.

"There are an infinite number of the feebler vegetables," says Mr. Alison," and many of the common grasses, the forms of which are altogether distinguished by angles and straight lines, and where there is not a single curvature through the whole; yet all of which are beautiful." He ascribes in another place a high degree of beauty to the knotted and angular stem of the balsam. And remarks also, in regard to the myrtle, that it is "generally reckoned a beautiful form, yet the growth of its stem is perpendicular, the junctions of its branches form regular and similar angles, and their direction is in straight or angular lines."

§ 261. Of square, pyramidal, and triangular forms.

The remarks of the last section, going to show that beauty is not limited to circular forms, is confirmed by what we observe in the works of art as well as of nature. The square, for instance, although we do not sup

pose it presents very high claims, comes in for a share of notice. On account of its practical convenience, and also for the reason of its being more entirely within the reach of human skill than some other forms, it is frequently introduced into architecture; generally with a pleasing effect, and sometimes with a high degree of beauty.

In the Gothic architecture, the pyramidal, a form still further removed from any relationship with the circle, has a conspicuous place, and when properly combined with other forms, gives a decided pleasure. Hogarth, in illustration of his remark, that variety has a great share inproducing beauty, explicitly observes, that the pyramid, which gradually diminishes from its basis to its point, is a beautiful form. And it is in consequence of being so regarded that we find it so frequently employed, not only as a characteristic feature in the order of architecture just referred to, but in steeples, sepulchral monuments, and other works of art.

Triangular forms also are not without beauty Mr. Alison states, that the forms of Grecian and Roman furniture, in their periods of cultivated taste, were almost universally distinguished by straight or angular lines. What is there, he inquires, more beautiful than the form of the ancient tripod? "The feet gradually lessening to the end, and converging as they approach it; the plane of the table placed, with little ornament, nearly at right angles to the feet; and the whole appearing to form an imperfect triangle, whose base is above. There is scarcely in such a subject a possibility of contriving a more angular form, yet there can be none more completely beautiful."

In connexion with these statements, it is proper to add a single explanatory remark. We have much reason to believe that the emotion will be stronger in all cases in proportion as the beautiful object is distinctly and immediately embraced by the mind. It may be asserted, with undoubted good reason, that the square form has a degree of beauty as well as the circle, although it is generally conceded that it has less. But it is a matter of inquiry, whether the difference in this respect is owing so much o the original power of the forms them Ives, is to the cir