and by Ghirlandajo in the introduction of his chorus-like side figures; and by Tintoret most eminently in his noblest work, the Crucifixion, where not only the grouping but the arrangement of light is absolutely symmetrical. Where there is no symmetry, the effects of passion and violence are increased, and many very sublime pictures derive their sublimity from the want of it, but they lose proportionally in the diviner quality of beauty. In landscape the same sense of symmetry is preserved, as we shall presently see, even to artificialness, by the greatest men; and it is one of the principal faults in the landscapes of the present day, that the symmetry of nature is sacrificed to irregular picturesqueness. Of this, however, hereafter. CHAPTER IX. may OF PURITY, OR THE TYPE OF DIVINE ENERGY. as IT at first appear strange that I have not, in my enumeration of the § 1. The Influence of Light Types of Divine attributes, included that which is certainly the a sacred most visible and evident of all, as well as the most distinctly expressed Symbol in Scripture; God is light, and in Him is no darkness at all. But I could not logically class the presence of an actual substance or motion with mere conditions and modes of being; neither could I logically separate from any of these, that which is evidently necessary to the perception of all. And it is also to be observed, that though the love of light is more instinctive in the human heart than any other of the desires connected with beauty, we can hardly separate its agreeableness in its own nature from the sense of its necessity and value for the purposes of life; neither the abstract painfulness of darkness from the sense of danger and powerlessness connected with it; and note also that it is not all light, but light possessing the universal qualities of beauty, diffused or infinite rather than in points; tranquil, not startling and variable; pure, not sullied or oppressed, which is indeed pleasant and perfectly typical of the Divine nature. Observe, however, that there is one quality, the idea of which § 2. The idea has been just introduced in connection with light, which might have nected with it. of Purity conescaped us in the consideration of mere matter, namely Purity: and yet I think that the original notion of this quality is altogether material, and has only been attributed to colour when such colour is suggestive of the condition of matter from which we originally received the idea. For I see not in the abstract how one colour § 3. Originally derived from Matter. should be considered purer than another, except as more or less compounded; whereas there is certainly a sense of purity or impurity in the most compound and neutral colours, as well as in the simplest; a quality difficult to define, and which the reader will probably be surprised by my calling the type of Energy, with which it has certainly little traceable connection in the mind. I believe, however, if we carefully analyze the nature of our ideas conditions of of impurity in general, we shall find them refer especially to conditions of matter in which its various elements are placed in a relation incapable of healthy or proper operation; and most distinctly to conditions in which the negation of vital or energetic action is most evident; as in corruption and decay of all kinds, wherein particles which once, by their operation on each other, produced a living and energetic whole, are reduced to a condition of perfect passiveness, in which they are seized upon and appropriated, one by one, piecemeal, by whatever has need of them, without any power of resist ance or energy of their own. And thus there is a peculiar painfulness attached to any associations of inorganic with organic matter, such as appear to involve the inactivity and feebleness of the latter; so that things which are not felt to be foul in their own nature become so in association with things of greater inherent energy; as dust or earth, which in a mass excites no painful sensation, excites a most disagreeable one when strewing or staining an animal's skin; because it implies a decline and deadening of the vital and § 4. Associated healthy power of the skin. But all reasoning about this impression is rendered difficult, because the ocular sense of impurity connected with impression. In- Corruption is enhanced by the offending of other senses and by the grief and horror of it in its own nature, as the special punishment and evidence of Sin; and on the other hand, the ocular delight in purity is mingled, as I before observed, with the love of the mere element of light, as a type of Wisdom and of truth; whence it seems to me that we admire the transparency of bodies, though probably it is still rather owing to our sense of more perfect order and arrangement of particles, and not to our love of light, that we look upon a piece of rock crystal as purer than a piece of marble, and on the marble as purer than a piece of chalk. And let it be observed also that the most lovely objects in nature are only partially transparent. I suppose the ideas adding to the power of the fluence of clear ness. utmost possible sense of beauty is conveyed by a feebly translucent, smooth, but not lustrous surface of white, and pale warm red, sub- § 5. Perfect beauty of Surdued by the most pure and delicate greys, as in the finer portions face, in what of the human frame; in wreathes of snow, and in white plumage consisting. under rose light,1 so Viola of Olivia in Twelfth Night, and Homer of Atrides wounded. And I think that transparency and lustre, both beautiful in themselves, are incompatible with the highest beauty because they destroy form, on the full perception of which more of the divinely typical character of the object depends than upon its colour. Hence, in the beauty of snow and of flesh, so much translucency is allowed as is consistent with the full explanation of the forms; while we are suffered to receive more intense impressions of light and transparency from other objects which nevertheless, owing to their necessarily unperceived form, are not perfectly nor affectingly beautiful. A fair forehead outshines its diamond diadem. The sparkle of the cascade withdraws not our eyes from the snowy summits in their evening silence. only metaphori It may seem strange to many readers that I have not spoken of § 6. Purity purity in that sense in which it is most frequently used, as a type cally a type of of sinlessness. I do not deny that the frequent metaphorical use 1 The reader will observe that I am speaking at present of mere material qualities. If he would obtain perfect ideas respecting loveliness of luminous surface, let him closely observe a swan with its wings expanded in full light five minutes before sunset. The human cheek or the rose leaf are perhaps hardly so pure, and the forms of snow, though individually as beautiful, are less exquisitely combined. ' ὡς δ ̓ ὅτε τίς τ ̓ ἔλεφαντα γυνή φοίνικι μιήνη So Spenser of Shamefacedness, an exquisite piece of glowing colour-and sweetly of The substance whereof she the body made Of the Riphoean hills. The same she tempered with fine mercury, And mingled them with perfect vermily. With Una he perhaps overdoes the white a little. She is two degrees of comparison above snow. Compare his questioning in the Hymn to Beauty, about that mixture made of colours fair; and goodly temperament, of pure complexion. "Hath white and red in it such wondrous power That it can pierce through the eyes into the heart?" Where the distinction between typical and vital beauty is very gloriously carried out. sinlessness. VOL. II. of it in Scripture may have and ought to have much influence on the sympathies with which we regard it; and that probably the immediate agreeableness of it to most minds arises far more from this source than from that to which I have chosen to attribute it. But, in the first place, if it be indeed in the signs of Divine and not of human attributes that beauty consists, I see not how the idea of sin can be formed with respect to the Deity; for it is an idea of a relation borne by us to him, and not in any way to be attached to his abstract nature; while the Love, Mercifulness, and Justice of God I have supposed to be symbolized by other qualities of beauty, and I cannot trace any rational connection between them and the idea of Spotlessness in matter; nor between this idea and any of the virtues which make up the righteousness of man; except perhaps those of truth and openness, which have been above spoken of as more expressed by the transparency than the mere purity of matter. So that I conceive the use of the terms purity, spotlessness, &c. in moral subjects, to be merely metaphorical; and that it is rather that we illustrate these virtues by the desirableness of material purity, than that we desire material purity because it is illustrative of these virtues. § 7. Energy, I repeat, then, that the only idea which I think can be legitimately how expressed Matter. by purity of connected with purity of matter, is this of vital and energetic connection among its particles: as that of foulness is essentially connected with dissolution and death. Thus the purity of the rock, contrasted with the foulness of dust or mould, is expressed by the epithet "living,” very singularly given to rock, in almost all languages; (singularly, because life is almost the last attribute one would ascribe to stone, but for this visible energy and connection of its particles): and so to flowing water, opposed to stagnant. And I do not think that, however pure a powder or dust may be, the idea of beauty is ever connected with it; for it is not the mere purity, but the active condition of the substance which is desired; so that as soon as it shoots into crystals, or gathers into efflorescence, a sensation of active or real purity is received which was not felt in the calcined caput mortuum. § 8. And of colour. And again, in colour, I imagine that the quality which we term purity is dependent on the full energizing of the rays that compose |