CHAP. VIII.] ESSAYS AT CAMBRIDGE. 231 



"All your analysis is cruelly anatomical, and your 

 separated faculties have all the appearance of preparations. 

 You may retain their names" for distinctness, but forbear to 

 tear them asunder for lecture-room demonstration. . , . . 

 They separate a faculty by saying it is not intellectual, and 

 then, by reasoning blindfold, every philosopher goes up his 

 own tree, finds a mare's nest and laughs at the eggs, which 

 turn out to be pure intellectual abstractions in spite of every 

 definition. 



" With respect to beauty of things audible and visible, 

 we have a firm conviction that the pleasure it affords to any 

 being would be of the same kind by whatever organisation 

 he became conscious of it. ... Our enjoyment of music is 

 accompanied by an intuitive perception of the relations of 

 sounds, and the agreement of the human race would go far 

 to establish the universality of these conditions of pleasure, 

 though Science had not discovered their physical and numer- 

 ical significance." 



Beauty of Form. " A mathematician might express his 

 admiration of the Ellipse. Euskin agrees with him. ... It 

 is a universal condition of the enjoyable that the mind must 

 believe in the existence of a law, and yet have a mystery to 

 move about in. ... All things are full of ellipses bicen- 

 tral sources of las-ting joy, as the wondrous Oken might 

 have said." Beauty of form, then, is 1. Geometrical; 2. 

 Organic; 3. "Kivers and mountains have not even an 

 organic symmetry; the pleasure we derive from their 

 forms is not that of comprehension, but of apprehension of 

 their fitness as the forms of flowing and withstanding matter. 

 When such objects are represented by Art, they acquire an 

 additional beauty as the language of Nature understood by 

 Man, the interpreter, although by no means the emendator, 

 of her expressions. 



"... The power of Making is man's highest power in 

 connexion with Nature." 



Beauty of Colour. " The Science of Colour does, indeed, 

 point out certain arrangements and gradations which follow 

 as necessarily from first principles, as the curves of the 



