BEAUTIES AND PRINCIPLES OF THE ART. 53 



nious and well balanced development of a fine type. Thus, 

 taking the most perfect specimens of beauty in the human 

 figure, we see in them symmetry, proportion, unity, 

 and grace the presence of everything that could add 

 to the idea of perfected existence. In a beautiful tree, 

 such as a fine American elm, we see also the most complete 

 and perfect balance of all its parts, resulting from its 

 growth under the most favorable influences. It realizes, 

 then, perfectly, the finest form of a fine type or species ot 

 tree. 



But all nature is not equally Beautiful. Both in living 

 things and in inorganized matter, we see on all sides evi- 

 dences of nature struggling with opposing forces. Moun- 

 tains are upheaved by convulsions, valleys are broken into 

 fearful chasms. Certain forms of animal and vegetable life 

 instead of manifesting themselves in those more complete 

 and perfect forms of existence where the matter and spirit 

 are almost in perfect harmony, appear to struggle for the 

 full expression of their character with the material form, 

 and to express it only with difficulty at last. What is 

 achieved with harmony, grace, dignity, almost with appa- 

 rent repose, by existences whose type is the Beautiful, is 

 done only with violence and disturbed action by the former. 

 This kind of manifestation in nature we call the Pictures- 

 que. 



More concisely, the Beautiful is nature or art obeying 

 the universal laws of perfect existence (i. e. Beauty), 

 easily, freely, harmoniously, and without the display of 

 power. The Picturesque is nature or art obeying the same 

 laws rudely, violently, irregularly, and often displaying 

 power only. 



