pose it presents very high claims, comes in for a share of notice. On account of its practical convenience, and also for the reason of its being more entirely within the reach of human skill than some other forms, it is frequently introduced into architecture; generally with a pleasing effect, and sometimes with a high degree of beauty.

In the Gothic architecture, the pyramidal, a form still further removed from any relationship with the circle, has a conspicuous place, and when properly combined with other forms, gives a decided pleasure. Hogarth, in illustration of his remark, that variety has a great share in producing beauty, explicitly observes, that the pyramid, which gradually diminishes from its basis to its point, is a beautiful form. And it is in consequence of being so regarded that we find it so frequently employed, not only as a characteristic feature in the order of architecture just referred to, but in steeples, sepulchral monuments, and other works of art.

Triangular forms also are not without beauty. Mr. Aliso states, that the forms of Grecian and Roman furniture, in their periods of cultivated taste, were almost universally distinguished by straight or angular lines. What is there, he inquires, more beautiful than the form of the ancient tripod? "The feet gradually lessening to the end, and converging as they approach it; the plane of the table placed, with little ornament, nearly at right angles to the feet; and the whole appearing to form an imperfect triangle, whose base is above. There is scarcely in such a subject a possibility of contriving a more angular form, yet there can be none more completely beautiful."

In connexion with these statements, it is proper to add a single explanatory remark. We have much reason to believe that the emotion will be stronger in all cases in proportion as the beautiful object is distinctly and immediately embraced by the mind. It may be asserted, with undoubted good reason, that the square form has a degree of beauty as well as the circle, although it is generally conceded that it has less. But it is a matter of inquiry, whether the difference in this respect is owing so much to the original power of the forms themselves, as to the cir

cumstance just alluded to. In other words, whether it be not owing to the fact, that the circle, being more simple, makes a more direct, entire, and decided impression; whereas the attention is divided among the sides and angles of the square and other similar figures.

§ 262. Of the original or intrinsic beauty of colours.

We proceed to remark, as we advance in the further consideration of this interesting subject, that we experience emotions of beauty in beholding the colours, as well as in contemplating the outlines or forms of bodies. The doctrine which we hold is, that some colours of themselves, independently of the additional interest which may subsequently be attached to them in consequence of certain associations, are fitted to excite within us those feelings of pleasure which authorize us in this, as well as in other analogous cases, to speak of the cause of them as beautiful. In other words, there are some colours which possess, as we suppose, an original or intrinsic beauty. In support of this opinion, we are merely able to allude to some of the various considerations which naturally present themselves, without entering into that minute exposition of them which would be admissible in a treatise professedly and exclusively devoted to the subject before us.

(1.) The pleasure which results from the mere beholding of colours may be observed in very early life. It is in consequence of this pleasing emotion that the infant so early directs its eyes towards the light that breaks in from the window, or which reaches the sense of vision from any other source. It is pleasing to see with what evident ecstasy the child rushes from flower to flower, and compares their brilliancy. Casting his eyes abroad in the pursuit of objects that are richly variegated, he pauses to gaze with admiration on every tree that is most profusely loaded with blossoms, or that is burdened with fruit of the deepest red and yellow. It is because he is attracted with the brightness of its wings that he pursues the butterfly with a labour so unwearied, or suspends his sport to watch the wayward movements of the humming-bird.

(2.) The same results are found also, very strikingly and generally, among all savage tribes. The sons of the forest are not so wholly untutored, so wholly devoid of natural sensibility, that they will not sometimes forget the ardour of the chase in the contemplation of the flowers which bloom in the neighbourhood of their path. Seeing how beautiful the fish of their lakes and rivers, the bird of their forests, and the forest tree itself, are rendered by colours, they commit the mistake of attempting to render their own bodies more beautiful by artificial hues. They value whatever dress they may have in proportion to the gaudiness of its colours; they weave rich and variegated plumes into their hair; and as they conjectured, from his scarlet dress, that Columbus was the captain of the Spaniards, so they are wont to intimate and express their own rank and dignity by the splendour of their equipments.

(3.) And the same trait which has been so often noticed in Savages, may be observed also, though in a less degree, among the uneducated classes in civilized communities. In persons of refinement, the original tendency to receive pleasing emotions from the contemplation of colours seems to have, in a measure, lost its power, in consequence of the developement of tendencies to receive pleasure from other causes. In those, on the contrary, who have possessed less advantages of mental culture, and whose sources of pleasure may in consequence be supposed to lay nearer to the surface of the mind, this tendency remains undiminished. Coloured objects generally affect them with a high degree of pleasure; so much so that the absence of colour is not, in their estimation, easily compensated by the presence of any other qualities. We cannot well suppose that there is any intermediate influence between the beautiful object and the mind, of which this pleasure is the product; but must rather conclude, in the circumstances of the case, that the presence of the object, and that only, is the ground of its

existence.

§ 263. Further illustrations of the original beauty of colours. We may derive additional proof of the fact that colours are of themselves fitted to cause emotions of beauty,

from what we learn in the case of those persons who have been blind from birth, but in after life have suddenly been restored by couching, or in some other way.

"I have couched," says Dr. Wardrop, speaking of James Mitchell, "one of his eyes successfully; and he is much amused with the visible world, though he mistrusts information gained by that avenue. One day I got him a new and gaudy suit of clothes, which delighted him beyond description. It was the most interesting scene of sensual gratification I ever beheld."

But this person, it appears, had some faint notions of light and colours previous to the operation by which his powers of vision were more fully restored." And the facts, stated in connexion with his exercise of this imperfect vision, are equally decisive in favour of the doctrine under consideration. The statements to which we refer are as follows." At the time of life when this boy began to walk, he seemed to be attracted by bright and dazzling colours; and though everything connected with his history appears to prove that he derived little information from the organ, yet he received from it much sensual gratification. He used to hold between his eye and luminous objects such bodies as he found to increase, by their interposition, the quantity of light; and it was one of his chief amusements to concentrate the sun's rays by means of pieces of glass, transparent pebbles, or similar substances, which he held between his eye and the light, and turned about in various directions. These too he would often break with his teeth, and give them that form which seemed to please him most. There were other modes by which he was in the habit of gratifying this fondness for light. He would retire to any outhouse or to any room within his reach, shut the windows and doors, and remain there for some considerable time, with his eyes fixed on some small hole or chink which admitted the sun's rays, eagerly watching them. He would also, during the winter nights, often retire to a dark corner of the room and kindle a light for his amusement. On these occasions, as well as in the gratification of his other senses, his countenance and gestures displayed a most interesting avidity and curiosity."

* As quoted by Mr. Stewart in his account of Mitchell.

The conclusion which we deduce from these sources of proof is, that colours are fitted, from our very constitution, to produce within us emotions of beauty.

264. Of sounds considered as a source of beauty.

We next propose to inquire into the application of these principles in respect to sounds. And here also we have reason to believe that they hold good to a certain extent; in other words, that certain sounds are pleasing of themselves; and are hence, agreeably to views already expressed, termed BEAUTIFUL. In proceeding, however, to the consideration of beauty as it exists in connexion with sounds, it may be proper to recur to the remark which was made near the commencement of the chapter, that the sources or grounds of beauty, although the emotions they excite within us are all of essentially the same kind, are very various. In view of what was there said, we do not feel at liberty to doubt, as some may be disposed to do, whether there is beauty in sounds, merely because sounds are obviously altogether different from some other objects which constitute sources of beauty, such as colours or forms. It is not the intention of nature that the empire of the beautiful shall be limited in this manOn the contrary, if certain sounds have something within them, which from its very nature is calculated to excite within us pleasing emotions, they are obviously distinguished by this circumstance from other sounds, and furnish a sufficient reason for our regarding them and speaking of them as BEAUTIFUL.

ner.

(1.) In asserting, however, that there is an original beauty in sounds, we do not wish to be understood as saying that all sounds, of whatever kind, possess this character. There are some sounds which, in themselves considered, are justly regarded as indifferent, and others as positively disagreeable. No one would hesitate in pronouncing the discordant creaking of a wheel, the filing of a saw, the braying of the ass, the scream of a peacock, or the hissing of a serpent, to be disagreeable. There are other sounds, such as the bleating of the lamb, the lowing of the cow, the call of the goat, and other notes and cries of animals, which appear to be, in themselves,