worth per se-A bright star to peasant and to poet-"Emotion of beauty" wrong phrase-Experiments to show that emotion may swallow up optical sensations-Beauty a reflex phenomenon-Admiration a delicate emotion and cannot hold its own against strong ones, e.g., anger-Admiration depends on culture-Brutes-Savages -The vulgar.

CHAPTER III.

Law 2.-Suggestiveness reflex process through association of ideasBeauty is twofold: 1. natural, and 2. artificial-Quality of suggestiveness, e.g., a fern's suggestions-Same principle holds in sublimity— The moon to peasant and astronomer-A primrose's suggestions— Have we latent associations ?-Images in L'Allégro and Il Penseroso -Analogy from physics of colour-Sunset suggestions.

Poetry consists in the liberation of beautiful analogies-These of four kinds :

1. Physical phenomena suggesting physical phenomena.

All poetry analysable into these four classes, or one or more of them— Examples of each from the poets—Testimony of poets themselves on the psychology of the art-Opinions of Shakespeare, Marvel, Wither, Wordsworth, Shelley-Poetic analogies inexhaustible—Architecture— Motion, suggestiveness of-Gradation of suggestiveness in names of necessaries and of luxuries of life-Examples from meats, roots, drinks, and from birds, butterflies, moths, ferns and grasses.

CHAPTER IV.

Law 3.-Objective Utility.-Necessaries of life-This law provable negatively-Absolute beauty would be independent of utility: none such -Experiments for such-Utility of flowers-Artificial flowersArchitectural beauty and utility-Drawing-room ornaments and utility Shape and utility-Motion and utility-Walking-Skating -Dancing-Invisible ornament-Ornament that cannot be attended to, e.g., markets, banks, law-courts, hospitals, railroad stationsMr. Ruskin quoted-Jewellery and utility-Utility of sunsets, skating, and dancing.

CHAPTER V.

Law 3 (continued).—Subjective Utility.-Admiration is diminutive loveBrutes-Human features-Physiognomists-General facts of physiognomy admitted on all hands-Diversities of "taste"-Difficulties

of physiognomy-Test of its truth-Faces described by terms applicable to mind only-Authorities-Lavater-Common fault, overlooking trifling differences—Grecian profile not natural-Objections to physiognomy-Answered-Illustrations from Shakespeare and others -Human beauty and utility-Sculpture and painting and utility— Meaning of "true taste."

Wit the liberation of analogies not beautiful-Difference between

wit and poetry-Illustrated from Falstaff's similes-In wit one factor is below the dignity of the other, or both are below the dignity of the occasion.

CHAPTER VI.

Law 4.--Relates to amount of beauty.-Inverse ratio of beauty and utility tested by an examination of ornaments, utensils, necessaries, insects, birds, quadrupeds, vegetables, fruit, flowers, vehicles, buildings, places, scenes, trees, professions, human beings, &c.-Sub-classes bear out the same rule-Objections replied to—Movement and inverse ratio rule.

CHAPTER VII.

UGLINESS.-Law 1. Attaches only to inutility.

Law 2. Varies directly with suggested inutility.

Ugliness is antithesis of beauty-Psychology of ugliness same as beauty -Inutility, what?—Nature of disgust-Caused by suggestion-Colour, shape, and motion never ugly per se-Ugly behaviour is so by its suggestiveness-Acts of others more disgusting or beautiful than our own, because more suggestive-Examples of same-Utility disarms disgust-Human ugliness-Red hair.

CHAPTER VIII.

SUBLIMITY.-Law 1. Attaches only to power.

Law 2. Appearance of sublimity varies inversely with the appearance of power.

Appropriate emotion of sublimity is awe-. -Awe stops short of fearPsychology of awe-Various forms of power-Division into innate and suggested-A small addition of innate power redeems meanness from contempt-Examples-Fear drives out awe-Sublime objects suggest, not assert, power, e.g., sword, volcano, conflagration, fortress, cannon, man-of-war, battle, the sea, the sun, &c.-Objects more sublime have less innate power-Design-Organism of a weedDesign is suggested power-Design in painting, sculpture, great discoveries, composition, &c.-Sound, physics of--Songs of birds-Music -Emotion of sentimentality-Different kinds of music-Treatment of

music by Dryden and Pope and Collins and Byron-Prisoner of Chillon-Sublimity of space and time caused by suggested powerExamples from sound by night-Ruined castle, suggestions-Massive portico, suggested power-"Monumental oak" and suggested powerDead and living-Suggested power of former-Innate power of latter -Genius alive and dead-Sublime features-Differences of opinion as to features of the great-Socrates, why thought ugly-Unreliability of engravings, &c.—Well-known faces—Something forbidding in faces of Swift, Voltaire, Johnson, Hogarth, explained—Meaning of “awful.”

CHAPTER IX.

MEANNESS.-Law 1. Attaches only to impotence.

Law 2. Varies directly with suggested impotence.

Is antithesis of sublimity-"Absence" and "want" of power-Proper emotion, contempt-Withdrawal of power causes contempt-Examples -Machine-made ornament-Artificial cliff when discovered to be artificial-False climax-Confusion of beauty and sublimity-Artificial ruin-Bad music, acting, painting, sculpture, poetry, &c., contemptible because they suggest want of power-Hideous faces are not contemple-Foolish faces are-Conclusion.

THE END.

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