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 
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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 ol 
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. 
