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are presented to our notice. Her forms, either original or in their combinations, are without number; and if 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 arises 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."

Although it seems to be unnecessary to delay at much length on this topic, we take the liberty to refer to a single instance more, because it has probably escaped the notice of many persons, and has never, so far as we know, been adduced in illustration of the subject under review. One would hardly look for symmetrical and beautiful ·· configurations in the falling flakes of snow. It appears, however, that the snow, at different times, and under the different circumstances in which it falls, assumes about a hundred different forms; not merely accidental, but de

terminate and permanent forms. Exact delineations of these forms have been executed; particularly of those which were observed by Mr. Scoresby in the Polar Seas; and although the circular or waving outline is almost entirely excluded from them, they are, in general, highly beautiful.

28. 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 suppose 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 in producing beauty, explicitly observes that the pyramid, which gradually diminishes from its basis to its points, 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 an

gular 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 to the original power of the forms themselves as to the circumstance just alluded to. In other words, whether it be not owing to the fact that the circle, being more simple, makes a more direct, entire, and decided impression; whereas the attention is divided among the sides and angles of the square and other similar figures.

29. The variety of the sources of that beauty which is founded on forms illustrated from the different styles of architecture.

The doctrine that all beauty is limited to a particular form or a small number of forms, does not appear to be sustained, but rather to be discountenanced and rebuked, by what we notice in the different orders of architecture: as it is, in fact, by all the arts that are based on the feelings now under review. An interesting field of inquiry is here opened, which we are not at liberty to enter, but must merely glance at and leave.

The simple facts which it is important for us to notice are, FIRST, that all the acknowledged styles of architecture are more or less beautiful; and, SECOND, that they all differ from each other, being respectively distinguished by their own characteristics.We cannot be expected to go into particulars. We read, however, of the architecture of Egypt; and the monuments of its existence, surprising for their number and extent, still remain. No one, if we are at liberty to receive the statements of travellers, can walk amid the desolate cities on the banks of the Nile, and amid the splendid ruins of its sacred islands, without profound emotions of delight and admiration, as he contemplates the remains of sculptured grotVOL. II.-E

toes, obelisks, columns, sphinxes, colossal statues, and pyramids. But his delight and admiration would not be less if he could the next moment be set down amid the hills of Greece, crowned with the multitude of her temples and the groups of her statuary; although he would find the principles which predominate in her great works of art, the Doric severity and strength, the Ionic lightness and grace, the Corinthian ornament, and other characteristic features, exceedingly different, in many respects, from what he had witnessed just before. And even the Gothic architecture, the product of a later and comparatively barbarous age, but inspired by a new insight into nature, and adventuring upon new combinations, has opened in its light and clustered pillars, its pinnacles, capitals, and pointed arches, rich and before unexplored sources of beauty.

It is to this fact simply that we wish to direct attention, viz., that all the acknowledged styles of architecture are more or less beautiful; but are all, in many particulars, different from each other. The authors of them seem to have wandered forth into the great universe of beauty, and to have gathered up, from the exemplars which nature so richly furnishes, such forms as pleased them best; being guided, of course, in some measure, by the circumstances of their time and country. But this could not have been; they could not have gathered so richly and so variously as is testified by the splendid but diversified monuments they have left, if nature had been so restricted, as some have supposed, in her liberality, and if the forms of beauty had not been many, but one.

§ 30. Of the original or intrinsic beauty of colours.

We proceed to remark, as we advance in the further consideration of this interesting subject, that we experience emotions of beauty in beholding the colours, as well as in contemplating the outlines or forms of bodies. The doctrine which we hold is, that some colours of themselves, independently of the additional interest which may subsequently be attached to them in consequence of certain associations, are fitted to excite within us those feelings of pleasure, which authorize us in this, as well as in

other analogous cases, to speak of the cause of them as beautiful. In other words, there are some colours which possess, as we suppose, an original or intrinsic beauty.— In support of this opinion, we are merely able to allude to some of the various considerations which naturally present themselves, without entering into that minute exposition of them which would be admissible in a treatise professedly and exclusively devoted to the subject before us.

(1.) The pleasure which results from the mere beholding of colours may be observed in very early life. It is in consequence of this pleasing emotion that the infant so early directs its eyes towards the light that breaks in from the window, or which reaches the sense of vision from any other source. It is pleasing to see with what evident ecstasy the child rushes from flower to flower, and compares their brilliancy. Casting his eyes abroad in the pursuit of objects that are richly variegated, he pauses to gaze with admiration on every tree that is most profusely loaded with blossoms, or that is burdened with fruit of the deepest red and yellow. It is because he is attracted with the brightness of its wings that he pursues the butterfly with a labour so unwearied, or suspends his sport to watch the wayward movements of the humming-bird.

(2.) The same results are found also, very strikingly and generally, among all savage tribes. The sons of the forest are not so wholly untutored, so wholly devoid of natural sensibility, that they will not sometimes forget the ardour of the chase in the contemplation of the flowers which bloom in the neighbourhood of their path. Seeing how beautiful the fish of their lakes and rivers, the bird of their forests, and the forest tree itself are rendered by colours, they commit the mistake of attempting to render their own bodies more beautiful by artificial hues. They value whatever dress they may have in proportion to the gaudiness of its colours; they weave rich and variegated plumes into their hair; and as they conjectured, from his scarlet dress, that Columbus was the captain of the Spaniards, so they are wont to intimate and express their own rank and dignity by the splendour of their equipments.

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