17 



The Lecturer then referred to certain general principles of 

 Beauty, such as Unity in Diversity, Gradation and Alternation, 

 and Association of Ideas, each of which was illustrated in detail. 

 Unity in Diveksity. 



The formal beauty of a musical composition depends upon its 

 correspondence to the law of Unity in Diversity. The Sonata is 

 an illustration. In a Sonata there are three or four movements 

 which, however much they may vary, are cast in a regular mould, 

 and in their changes and modulations follow a clearly defined or 

 accepted order. The effect of this is to assist the mind in follow- 

 ing and retaining the musical impressions conveyed, and to 

 render them more distinct and beautiful. This unity in diversity 

 gives a charm to ordinary objects of utility, dress, furniture, 

 table-appointments and the like, which are thus raised above the 

 common-place needs of every-day life into the region of refined 

 pleasure. "Order is Heaven's first law." Order is some people's 

 last law, and the ills attendant upon angusta res domi, unduly 

 limited means, are often aggravated by the want of it. The 

 simplest furniture, the humblest employ, can be arranged with 

 some general design and correspondence, and home and toil 

 rendered more bright thereby and even beautiful. Method of 

 work is as necessary to our happiness as it is to our usefulness. 

 The most orderly life is the most joyous. Our very holidays 

 require the application of method to render them pleasing. 

 Their charm lies at first in the diversity from our ordinary 

 course. This wears off, and we are apt to grow weary, even of 

 holidays, unless system and arrangement be introduced to occupy 

 or vary the time. Variety is introduced into our life by the 

 Divine institution of one day in seven as a day of rest and 

 recreation for mind, soul and body. The less that day is like 

 ordinary days the better. Our life when thus varied is represented 

 as more conformable to the Heavenly Model. 



Professor Euskin on "Design." 



" If you learn to draw a leaf well, you are taught in some of 

 our schools to turn it the other way, opposite to itself ; and the 

 two leaves set opposite ways are called " a design : " and thus it 

 is supposed possible to produce ornamentation, though you have 

 no more brains than a looking-glass or a Kaleidoscope has. But 

 if once you learn to draw the human figure, you will find that 

 knocking two men's heads together does not necessanly con- 

 stitute a good design It ought further to be observed, that 



the nobler the material, the less their symmetry is endurable. 

 You may harmlessly balance a mere geometrical fonn, and 

 oppose one quatrefoil or cusp by another exactly Uke it. But 

 put two ApoUo Belvederes back to back, and you will not think 

 the symmetry improves them." 



