tive and universal symbolism expressing the deep and serious joy
with which the "thing of beauty" is welcomed to the heart. Hence come
those lines which aesthetic writers term "Lines of Beauty," so eloquent
to us with an uncomprehended meaning,--so near, and yet so far,--so
simple, and yet so mysterious,--so animated with life and thought and
musical motion, and yet so still and serene and spiritual. Links which
bind us fraternally to old intelligences, tendrils by which the soul
climbs up to a wider view of the glimmering landscape, they are grateful
and consoling to us. We look with cognizant eyes at their subtile
affinities with some unexpressed part of human life, and, turning one to
another, are apt to murmur,

"We cannot understand: we love."

The mysteries of orb and cycle, with which old astrologers girded human
life, and sought to define from celestial phenomena the horoscope
of man, have been brought down to modern applications by learned
philosophers and mathematicians. These have labored with a godlike
energy and skill to trace the interior relationships existing between
the recondite revelations of their Geometry, their wonderful laws of
mathematical harmonies and unities, and those lines which by common
consent are understood to be exponential of certain phases of our own
existence. No well-organized intellect can fail to perceive that a
sublime and immortal Truth underlies these speculations. Undoubtedly, in
the straight line, in the conic sections, in the innumerable composite
curves of the mathematician, lie the germs of all these symbolic
expressions. But the artist, whose lines of Beauty vary continually with
the emotions which produce them, who feels in his own human heart the
irresistible impulse which gives an exquisite balance and poise to those
lines, cannot allow that the _spirit_ of his compositions is governed by
the exact and rigid formula; of the philosopher to any greater extent
or in any other manner than as the numbers of the poet are ruled by the
grammar of his language. These formulae may be applied as a curious test
to ascertain what strange sympathies there may be between such lines and
the vast organic harmonies of Nature and the Universe; but they do not
enter into the soul of their creation any more than the limitations of
counterpoint and rhythm laid their incubus on the lyre of Apollo. The
porches where Callicrates, Hermogenes, and Callimachus walked were
guarded by no such Ce