en find a heart capable of
discerning the sentiment and intention of it under the outward lines,
yet that heart, when found, is touched very deeply and very tenderly. We
imbibe the creative impulse of the artist, and the beautiful thing has a
new life in our affections. Studying it, we become artists and poets ere
we are aware. The alphabet becomes a living soul.

Under the volutes of this capital, and belting the top of the shaft, is
a broad band of ornamentation, so happy and effectual in its uses, and
so pure and perfect in its details, that a careful examination of it
will, perhaps, afford us some knowledge of that spiritual essence in the
antique Ideal out of which arose the silent and motionless Beauty of
Greek marbles.

Here are brought together the _sentiments_ of certain vegetable
productions of Greece, but sentiments so entirely subordinated to the
flexure of the abstract line, that their natural significance is almost
lost in a new and more human meaning. Here is the Honeysuckle, the
wildest, the most elastic and undulating of plants, under the severe
discipline of order and artistic symmetry, assuming a strict and chaste
propriety, a formal elegance, which render it at once monumental and
dignified. The harmonious succession and repetition of parts, the
graceful contrasts of curves and the strict poise and balance of them,
their unity in variety, their entire subjection to aesthetic laws, their
serious and emphatic earnestness of purpose,--these qualities combine
in the creation of one of the purest works of Art ever conceived by the
human mind. It is called the Ionic _Anthemion_, and suggests in its
composition all the creative powers of Greece. Its value is not alone in
the sensuous gratification of the eye, as with the Arabesque tangles of
the Alhambra, but it is more especially in its complete intellectual
expression, the evidence there is in it of thoughtfulness and judgment
and deliberate care. The inventor studied not alone the plant, but his
own spiritual relationships with it; and ere he made his interpretation,
he considered how, in mythological traditions, each flower once bore
a human shape, and how Daphne and Syrinx, Narcissus and Philemon, and
those other idyllic beings, were eased of the stress of human emotions
by becoming Laurels and Reeds and Daffodils and sturdy Oaks, and how
human nature was thus diffused through all created things and was
epigrammatically expressed in them.

"And h