VtfVUfl^ 4^1 o _* ^.. JL V/^, # Vl| r, <*/saar^ ^ C 4 U % *lt ^ <*/s V MISCELLANIES. Ac MISCELLANIES & SB BT JOHN ADDINGTON SYMONDS, M.D., SELECTED AND EDITED, WITH AN INTRODUCTORY MEMOIR, BY HIS SON. LONDON: MACMILLAN AND CO. BRISTOL: I. ARROWSMITH. 1871. EDITOR'S PREFACE. IN preparing the following Volume for the Press I have found it difficult to make such a selection of my father's works as should interest the general public, and at the same time do justice to his professional and scientific reputation. To combine in one book a Treatise on ^Esthetics, with a Course of Lectures on Headache, or an Analytical Essay upon Tetanus would have been impossible. The only course open to me, therefore, was to omit all strictly medical articles, confining myself to works of pure literature, and to such scientific studies as had a general philosophical or social interest. I am aware that by following this principle of selection I have rendered the Volume less valuable to phy- sicians ; but I have the satisfaction of reflecting that more public attention may be attracted to the products of a singularly versatile and elegant, as VI. PEEFACE. well as powerful and scientific intellect. The few Poems and Translations inserted at the end of the Volume have been selected from a great number of equal merit, as specimens of the lighter literary recreations which occupied the intervals of leisure in a very laborious life. CLIFTON, July 1871. CONTENTS. PAGE. MEMOIR ix THE PRINCIPLES OF BEAUTY : Introduction - 1 Sensational Beauty - - 1 Intellectual Beauty - 31 Moral Beauty ... 33 Emotional Beauty , . . 34 Ideal Beauty 39 Uses of Beauty -- - 43 LECTURE ON WASTE .... - 49 TEN YEARS 72 KNOWLEDGE ......... 92 LIFE OF DR. PRICHARD - . 116 SCIENTIFIC STUDIES. y/y.r" ( SLEEP AND DREAMS '? - - - 145 APPARITIONS (La> * r . . . - - - 209 THE KELATIONS. BETWEEN MIND AND MUSCLE '$ '-/ 265 HABIT l$*"\ ;. 293 CRIMINAL RESPONSIBILITY m EELATION TO INSANITY - J ^ J 325 Vlll. CONTENTS. PAGE. ON THE ^OCIAL & POLITICAL ASPECTS OF .EDICINE. ** THE PUBLIC ESTIMATE OF MEDICINE THE HEALTH OF CLIFTOIC /o&*| .... 350 MEDICAL EVIDENCE IN KELATION TO STATE MEDICINE - ^ -^ 372 ADDRESS ON HEALTH - 'ori ...... 382 f OEMS. A PHILOSOPHER'S PSALM - - 401 VERSES IN THE VALE OF BEDDGELERT - - - 403 SHADOWS - ---._. 404 THE BROTHERS - - 406 Ex EGO IN ARCADIA vrxi - 408 PROMETHEUS - - . - - 409 TRANSLATIONS. FROM MIMNERMUS - - - - ... . 410 FROM THEOGNIS - -- . . . . . . 411 FROM THE GREEK ANTHOLOGY - - - - - 412 FROM HORACE 414 FROM LUCRETIUS- ---.._._ 416 FROM MARTIAL 416 MEMOIR 18071831. OHN ADDINGTON SYMONDS was born at Oxford on the 10th of April, 1807. His father, who belonged to a family of ld- standing and respectability in *Shropshire and Warwick- shire, had settled in that city as a medical practitioner after marrying Miss Mary Williams, of a family established at Aston, in the county of Oxford. This circumstance determined the future career of his son, who received his earliest education at Magdalen College School. There he showed such aptitude for classical studies, and so strong a bent toward literature, that, had it not been decided for him to pursue his father's profes- sion, he would naturally have devoted his abilities to the Church, or have become the Fellow of an Oxford College. The development of his intellectual powers was rapid. At the age of sixteen, having already made himself a fair Greek and Latin scholar, and laid the foundation of those classical tastes which he retained through life, he commenced the study of medicine, attending the anatomical courses of Dr. Kidd, and the lectures on chemistry of Dr. Daubeny, and acting meanwhile as dresser at the Kadcliffe Infirmary to Mr. Hitchings. In 1825 he entered the University of Edinburgh, * The immediate ancestors of Dr. Symonds had been settled for about a century in Kidderminster, whither they had removed from Shrewsbury. They claimed a common descent with the family of Symons or Symeon, of Pyrton, the heiress of which branch married John Hampden. X. MEMOTE. where he graduated as M.D. in 1828. At Edinburgh he wa& distinguished among his fellow students for the union of literary tastes and pursuits with an unflinching devotion to the studies of his profession. The time that he could spare from science was spent upon philosophy and poetry. While toiling night and day in the fever wards of the hospital, or mastering by long hours of practice and patient observation the then novel art of the stethoscope,* he was among the first admirers of Shelley, and foremost in all dis- cussions relating to elegant literature. Many pieces of poetry composed by him at this period shew him to have been a master of facile and vigorous versification. At the same time he neglected neither the graver studies in pathology and anatomy which were necessary for his professional training, nor literary reading of a more robust and bracing type than poetry. The soundness of judgment and logical precision with which he was eminently gifted by nature, and the industry of research which made his diagnosis valuable in all the more complicated cases of disease, were being confirmed and exercised by the perusal of Bacon, Dugald Stewart, and Dr. Brown, his three favourite philosophers. For this unusual combination of philosophical and literary ability, with practical sagacity and wisdom in the discovery and treatment of disease, he continued to be celebrated through his lifetime, forming, as it were, a link between his profession and the world of letters, and carrying on the tradition of the Sydenhams and the Harvey s of whom England is justly proud. 18311851. But it was requisite that he should suppress as far as possible the inclinations of his genius toward extraneous studies, and con- centrate his powers upon the practice of medicine. Accordingly, * I have often heard my father say that whatever skill in auscultation he pos- sessed was due to his having learned the use of the stethoscope by original experiment and observation, and not by tradition. EARLY LIFE IN BRISTOL. XI. after taking his degree, he returned to Oxford, and took an active part in his father's practice until 1831, when he removed to Bristol at the instance of his great uncle, Mr. John Addington, of Ashley Court, near that city. The whole country at that period was agitated with the disturbances that attended the passing of the Reform Bill It was a time at which political feuds raged high, especially in Bristol, an essentially Tory city, provoked almost to madness by the terror of its riots. Dr. Symonds was by connec- tions and conviction a Liberal. In voting and in expressing his opinions he did not depart from his principles, though, as a young professional man, he had to fight an uphill way at first and to conquer some political antagonism.* His talents, however, won for him from the date of his first residence in Bristol an eminent position among his brethren. He was soon elected Physician to the General Hospital and Lecturer on Forensic Medicine at the Bristol Medical School The latter post he exchanged in 1836 for the Lectureship on the Practice of Medicine, which he held till 1845 ; and in 1848, after resigning his place at the Hospital, in conse- quence of the increase of his private practice, he was elected its Honorary and Consulting Physician. In 1834 Dr. Symonds married Harriet, the eldest daughter of James Sykes, Esq., by whom he had five children, four of whom survive.-f- His married life was but brief; for in 1844 his wife died at the time when he had successfully ended the first stage in his life's journey, and was looking forward to years of undiminished activity but of less anxiety. With words so few and cold as these it is best perhaps to pass over the great joy and the great sorrow * He used to tell, in after life, that on voting at the first contested election after he came to Bristol, an older physician than himself had vainly warned him that he would destroy his professional prospects if he ventured to assert his right to think for himself in politics. t Edith Harriet, wife of Charles D. Cave, Esq., of Stpneleigh House, Clifton ; Mary Isabella, wife of Sir Edward Strachey, Bart., of Stilton"" Court, Somerset- shire; John Addington Symonds, of Clifton Hill House, Bristol; and Charlotte Byron, wife of T. H. Green, Esq., of Balliol College, Oxford. Xll. MEMOIR. of a man whose whole existence was one of unremitting energy and noble toil. Happiness rarely comes to those who seek it eagerly or hug it anxiously. Dr. Symonds was happy, in spite of what he lost and never could forget, because he lived for duty. Those who knew him best will understand that this is no merely conventional panegyric, but the simple fact. During the first years of his residence in Bristol, and before his practice had become too engrossing, Dr. Symonds employed much of his time in writing. He used to rise early in the morning, and to gain two hours for composition before he began the routine of the day with a breakfast at eight o'clock. The articles on " Age " and " Death," which he contributed to the " Cyclopaedia of Anatomy and Physiology," and that on " Tetanus," which was published in the "Cyclopaedia of Practical Medicine," were written at this period. So also were several articles composed for Dr. Tweedie's " Library of Medicine," among which may be mentioned the " Pathological Introduction," as well as various contributions to " The British and Foreign Medical Eeview," and to the " Transac- tions of the Provincial Medical Association." Most noticeable among his reviews was a paper on " Carswell's Elementary Forms of Disease," while memoirs on the " Cholera in Bristol in 1832," on " The Medical Topography of Bristol," and on similar topics of local interest, attracted much attention. Few of these compositions have more than a professional or strictly scientific value. Yet such of them as can be read with profit by the general student display the forcible and polished style which Dr. Symonds commanded. Some passages from the essays upon " Age " and " Death " are eloquent in a literary sense, and might well have been included in the volume to which this memoir serves as preface. The whole series, if collected, would serve as a model for young writers upon scientific subjects in respect of logical sequence of thought, lucid arrangement, and propriety of diction. Gradually, while the cares attending his first steps in profes- sional life began to diminish, and he felt that he might again indulge LITERARY INTERESTS. Xlll. his strong bias to literary study, new phases of intellectual interest and enjoyment dawned upon him. The friendship of Dr. Prichard, and the society of the Carpenter family, then united under one roof in Bristol, had furnished him with sources of congenial recreation and improvement ever since he first settled in Bristol. But towards the year 1840,* the close intimacy which he formed and maintained with Dr. G. D. Fripp, with Professor F. Newman, with the Rev. Whitwell Elwin, with John Sterling, and with the gifted and accomplished Mrs. Strachey, all then resident in Bristol and Clifton, or frequent visitors to the neighbourhood, tended to foster his old enthusiasm for pure literature, and to develop a taste for art which had hitherto been dormant. It is not often that a man past thirty finds a whole fresh field of intellectual enjoyment suddenly expand before him. Yet this was the good fortune of Dr. Symonds, who discovered at this period that pictures, statuary, engravings, and all forms of art possessed the highest attraction for his intellect. That no mere momentary fancy, but a deeply seated instinct of his nature was satisfied by the study of the fine arts, is evident from the rare sesthetical capacity displayed in the first essay of the following selection. It Mas about (his time that lie began to collect prints and books on art, forming a choice library of reference and filling his portfolios, without, however, being bitten by the mere collector's mania for raritiek I have often heard him say how Sterling, walking rapidly along the Clifton streets with neck slightly bent and swinging step, would hail his carriage to tell or hear of some fresh acquisition in the shape of a line engravinf or a copy of some coveted old volume. The richness of Dr. Symonds' mind was shewn in nothino- more than his aptitude for forming new tastes and cultivating faculties which had lain undeveloped in his nature. In order to illustrate this fertility and energy of intellect, I will cast a rapid glance over I give this as an approximate date to mark the perio.'l I wish to indicate though some of the friendships to which I allude were of earlier and some, perhaps, of later formation. MEMOIR. the succession of his favourite pursuits from this time forward till his death. After appropriating the beauties of Italian and Greek art, he next engaged in the study of Egyptian antiquities. I can well remember returning from Harrow, where I was at school, on several successive holidays, to find him deep in Eosellini and Bunsen, examining the chronology of Manetho, learning the names and attributes of the several gods and of the royal dynasties, and entering with interest into the minutest points relating to the archaeology of Egyptian life. This course of enquiry was followed by a scientific investigation of the mathematical laws of musical proportion, on which he believed Beauty in all objects to be based. Amid these studies he never neglected the classics, but always kept one Greek or Latin author on his table, reading a few pages daily, and frequently translating into verse the passages which struck him most in his favourite poets. Later on, again, Ethnology and the enquiry into the origins of humanity, claimed his chief attention. He was not content with gaining a general familiarity with modern discovery in these departments ; but he collected original authori- ties and mastered the details of his subject. With the same characteristic thoroughness and mental patience he occupied him- self during the intervals of his last illness with the Topography of Greece, taking the greatest possible interest in following the argu- ments by which it has been attempted to identify the public buildings of Athens. So far, it will be noticed that the special subjects of his study were connected by threads of mutual depen- dence and illustration. At the same time he never ceased to read much in history, making himself, for example, a complete master of the slightest details of the Parliamentary War, and shewing in his study of Napoleon's and Wellington's campaigns a capacity for understanding military science that won the applause of generals. Among his friends he numbered Sir Thomas Brisbane, Sir Richard Airey, Sir Abraham Roberts, and General MacMurdo. With them, and with all officers who shared his interest in military history, he was never tired of discussing the celebrated campaigns of the past ROUTINE OF LIFE. XV. or in hearing of the conduct of our arms in the Crimea, in India, and in the Peninsula. Amid these varied pursuits the Belles Lettres were not neglected. Whenever he could spare an evening for his children, he used to read aloud some poet or prose writer. Shakspere, Charles Lamb, Tom Hood, Dickens, Southey, Scott, Sir Thomas Browne, De Quincey, Crabbe, Wordsworth, Milton, Shelley, Landor, Keats, Carlyle, Tennyson all had their turn, with many more, to name whom would be endless ; for nothing was more remarkable than the catholicity of his taste and the genuine appre- ciation he had for every kind of excellence in literature. Among all his favourites one was prominent, to whom, as years advanced, he turned with ever increasing admiration Milton. The life of a professional man established in a provincial city, however full of interesting details to his immediate friends, does not offer many points for commemoration in a biography. I shall, therefore, pass over the remainder of the period which elapsed between the settlement of Dr. Symonds in Bristol and his removal to Clifton in 1851, with the general remark that this was a season of unflagging labour, broken only by two flying visits to the Conti- nent. Kising early, as we have seen, to write before breakfast, breakfasting at eight, beginning the day's work at nine, continuing it in various forms till a late dinner, leaving that again to resume the round of visits, and often passing a portion of the night in country journeys such is the unvarying treadmill at which a physician in large practice has to toil, without the relief of those vacations and occasional interruptions on which all other hard workers depend for relaxation. 'That physicians should be able in the midst of their employments to keep pace with the advance of science and with current literature is a matter of astonishment. Our wonder is increased when, in addition to extensive reading, we find a man like Dr. Symonds able to devote a portion of his energy to original literary work outside the sphere of his profession. It was at this time that he wrote several of the papers included in the following collection : the biographical notice of his friend Dr.- xvi. MEMOIR. Prichard, the address on " Knowledge," the essay on " Apparitions," the monograph on " Mind and Muscle," and the closely reasoned lecture on " Habit." As the titles of these articles indicate, the subjects chosen at this period by Dr. Symonds for public treatment were still closely connected with his medical studies : but the philosophical breadth and artistic elegance with which he handled them, gave to these highly-finished essays the rank of independent literature. Throughout this period of his life Dr. Symonds continued steadily to win the confidence and respect of his fellow citizens. Xo scheme of public utility, whether connected with sanitary matters or with education, was discussed without an appeal to his judgment. Applying the same high standard of excellence to public speaking as to literary composition, Dr. Symonds never addressed an audience without striking his hearers by the propriety and harmony of the language in which he conveyed solid thought and careful reasoning. Minute attention to style as the means of accurately expressing and of ornamenting thought was one of his most marked characteristics. It is sometimes questioned whether a writer or an orator may not gain force by the sacrifice of finish : but this sacrifice he never in the slightest of his utterances made ; so that in speaking and in writing he was known as the most thoroughly urbane and polished master of classical English. At his table conversation insensibly assumed a tone of greater dignity. In his presence it was difficult to be rude or boisterous or vulgar. Wherever he went, he carried with him an elevating and refining influence without imposing undue constraint upon his company. In local politics Dr. Symonds took no very active part. He was well known as a steady and consistent Liberal, not shrinking from any of the changes advocated by the leaders of his party. At the same time his interest in politics and the ability with which he handled political questions were so well known as to render many of his professional brethren anxious that he should offer himself as a candidate for the representation of Edinburgh University when it was enfranchised. REMOVAL TO CLIFTON. xvii. 18511868. The year 1851 may be taken as an epoch in the life of Dr. Symonds owing to the fact that this was the date of his removal from Bristol to Clifton Hill House, in Clifton, where he continued to reside until his death. This change of residence did not, indeed, involve any very marked alteration in his life and habits ; but his house was larger : he was better able from this time forward to indulge his taste for the accumulation of works of art, and for the exercise of a large yet refined hospitality. The drudgery of his profession was in some measure relaxed. He spent the evening more frequently in the society of his friends, gathering around him all the strangers of eminence in literature or science who visited Clifton. It was during the last twenty years of his life that he formed a close friendship with Professor James Forbes, afterwards Principal of St. Andrews, with Professor Conington, and with the present Master of Balliol. The dedications of Professor Forbes's " Travels in Norway," and of Professor Conington's Translation of the Odes of Horace, remain as monuments of the common literary interests which united Dr. Symonds to men of eminence. At Clifton again he made the acquaintance of Lord Macaulay, Mr. Hallain, Lord Lansdowne, and Professor Sedgwick. The society _of many others, among whom I may mention Professor Maurice, Woolner the sculptor, Kingsley, Tennyson, Sir Henry Holland, Sir J. K. Shuttleworth, Baron Bunsen, and Mr. Gladstone, though only enjoyed at intervals, formed one of the chief pleasures of his life.* Nothing was more characteristic of Dr. Symonds than his power * These lists are not meant of course to be exhaustive, but only illustrative of the wide and varied circle of his friends. I cannot forbear from adding here the names of Matthew Davenport Hill, his kinsman and most valued associate during twenty years of intimacy; and of the Dean of Bristol ; with both of whom, owing to their residence in the neighbourhood, he was able to enjoy a close and constant intercourse. b xviii. MEMOIR. of winning the regard and affection of all who came in contact with him by his great ability, by the catholicity of his tastes, and more than all by his kindness. Those who knew him but slightly were drawn to him by the diffusive kindness of his nature : those who knew him better had good cause to say that they had never found that kindness fail : while one of the best and most eminent among his friends described Mm as " the genius of kindness." After Dr. Symonds's removal to Clifton he indulged more fre- quently in summer holidays . Twice he paid a visit to his friends in Scotland, passing a few weeks with Professor Forbes in the beautiful scenery that surrounds Pitlochrie, and renewing his old familiarity with the streets and wynds of Edinburgh. His excur- sions to the Continent were more frequent. Before the final visit which he paid to Italy in 1869, he made four summer tours with his son and daughter, through various parts of Germany, Switzerland, and Lombardy. The most characteristic point about these pleasure trips was their brevity combined with comprehensiveness. A journal has been kept of one of them in which, starting from Brussels with his son, he visited Cologne, Berlin, Dresden, the Saxon Switzerland, Prague, Vienna, Salzburg, Munich, and the Bhine, within the space of less than three weeks omitting no matter of importance, but studying picture-galleries and palaces, inspecting battle-fields, riding or driving in search of fine scenery, listening to operas, calling upon foreigners of distinction, examining hospitals, and enquiring into all matters of topographical, geological, and antiquarian interest. In order to secure time for sight-seeing, the travelling was chiefly done by night ; nor did Dr. Symonds seem in the least exhausted by the sustained intellectual and physical excitement, which proved sufficiently fatiguing to his son, a lad at college.* On the contrary he showed his freshness by the literature with which he occupied spare moments. Mill's " Political Economy," * In a letter dated Lausanne, July 22, 1862, Dr. Symonds writes : " In this life I realize the laboriousness of my life at home ; for what seems to me in travelling no fatigue at all, or even absolute recreation, is to my children hard work," MEDICAL WHITINGS. XIX. if I remember rightly, was the pidce de resistance he carried in his travelling bag for study ; while the rare half hours of idleness in wayside inns and railway stations were often devoted to the reading aloud of Milton or Tennyson. The habit of constant labour which he had acquired in thirty years of hard professional work, could not be thrown off. The holiday itself became a source of exhaustion : nor was it surprising that the summers in which he stayed at home proved, according to his own confession, less fatiguing than those in which he took a tour. In 1853 Dr. Symonds was elected a member of the Eoyal College of Physicians, of which body he became a Fellow four years later. In 1858 he was called upon to deliver the Gulstonian Lectures in the lecture room of the College in Pall Mall. The subject selected by him was " Headache," which, to quote the words of a medical authority, " he treated in an almost exhaustive manner." In 1863 while performing the duties of President of the British Medical Association, which held its annual meeting that year in Bristol, he delivered an address on the " Public Estimate of Medicine." This address is in effect a vindication of Medicine considered as a science and an art,* from the arguments of enemies and incautious admissions of querulous supporters. Admitting the defects and failures to which medicine is peculiarly liable owing to the complex and uncertain nature of the facts with which it has to deal, Dr. Symonds insists with much vigour of conclusive logic that it is unreasonable to attack this art because it cannot boast of mathe- matical precision. Continuing the account of medical writings belonging to this period of his life, I may mention a paper on " Death by Chloroform," which was read before the Harveian Society in 1856, and afterwards published in the Medical Times and Gazette. The practical value of this essay has been amply acknowledged by the highest medical authorities. Again in 1860 the medical journal above mentioned * " Long i-ecognized by all enlightened physicians as perhaps the most successful 'Apologia pro vita sua' ever published." Lancet, March 4, 1871, p. 32i. XX. MEMOIR. published some strictures by Dr. Symonds on the stimulant treat- ment recommended by Dr. Todd in his " Lectures on Acute Disease," and in 1864 appeared in the same columns an article of great public interest, on the " Criminal Eesponsibility of Lunatics." The experience of Dr. Symonds had led him to entertain the opinion that mad people are far more under the dominion of their will, and are more susceptible of being deterred from outbreaks of ungovernable criminal passion than is usually supposed. He was consequently intolerant of the plea of incipient insanity by which criminals frequently elude justice, and believed that it would be to the advantage of the community if mad persons guilty of violence while still at large were held accountable for their actions. In the midst of professional studies Dr. Symonds continued to cultivate more general literature, and composed at this period the most valuable of the essays included in this volume. " Waste," " Sleep and Dreams," and " Ten Years," were all lectures delivered at the Bristol Institution. They may be pointed out as the best examples of the brilliant and weighty style of their author. The subject of " Sleep and Dreams," which has a peculiar fascination for all readers, was one well suited to display the fine descriptive powers, the calm and solid reasoning, and the large acquaintance with literature possessed by Dr. Symonds. " Waste " and " Ten Years " illustrate another quality of his intellect, his delight in contemplating all that is vast, mysterious, and awful in the world, and in the history of man. The remote past, and the remote future, allured his imagination with a spell that gave its charm to ponder- ings over the dry catalogues of Egyptian kings, or to speculations concerning the aboriginal races of the European Continent. Again those branches of science which open out illimitable horizons for conjecture, such as the theory of the correlation of forces, or the theories of evolution advocated by Darwin and Huxley, rivetted his attention even while he did not always agree with the conclu- sions to which they seem to lead. But it was not the practical or ' logical faculties of his intellect so much as the imaginative and MENTAL QUALITIES. XXI. artistic which were stimulated by these historical and scientific meditations. In this respect I have sometimes thought that his genius closely resembled that of a physician of the seventeenth century, whose eloquent writings he was never tired of studying, Sir Thomas Browne. A more extensive as well as a more analytical composition belonging to this period is the essay on the " Principles of Beauty." Having been elected President of the Canynge Society for the restoration of St. Mary's, Redcliff, in 1856, Dr. Syrnonds delivered an address upon this subject, which he afterwards enlarged and pub- lished. A considerable portion of the essay is devoted to an exposition of Mr. Hay's theory of the correspondence between the harmonic ratios of sound and the geometrical proportions which, according to his opinion, determine all forms of beauty. Thus a scientific basis is laid for sesthetical speculation. It is in the application of these principles, in their connection with -facts of physiology, and in the analysis of intellectual and moral beauty that the author's originality of thought and elevation of sentiment are most conspicuous. In his studies for the composition of this essay Dr. Symonds gave another proof of his versatility and energy. Up to this time the arts had been to him, indeed, a source of refined amusement ; but he had never sought to explain the pleasure he derived from them by reference to any scientific law. He now set himself to observe the nature of sounds in harmony and discord, to interrogate the monochord, to describe ellipses, to construct diagrams, and to calculate numbers all tasks quite alien to the previous studies of Ms life, and for the arithmetical portion of which he had an absolute distaste. After having said so much about the several compositions of Dr. Symonds, and after tracing the various studies to which he successively devoted his attention, it may not be inappropriate to attempt, however roughly, to estimate his literary qualities and to characterize his taste. The most prominent features of his mind XX11. MEMOIR. were its firmness, solidity, and soundness. In forming judgments* he was deliberate ; in adhering to them tenacious. Fully conscious of the grounds on which he based opinions, he was ready to defend his views by argument. Adding great reasoning faculties to a vigorous memory he displayed unusual skill in collecting facts, marshalling them in their proper order, and drawing their legitimate conclusions. This logical quality of intellect not only strengthened him, in the practice of his art, but it also added a peculiar weight and force to his style of composition. It was impossible to treat anything he wrote or said as if it had been written or spoken on the spur of the moment, to meet his arguments^with flimsy reasoning, or to disregard his opinions as' lightly formed. His language was from the same cause pregnant with meaning, well balanced, carefully chosen, erring if anything upon the side of laborious exactitude and determined fulness, never lapsing into vagueness or the exuberance of inconsiderate fluency. His taste was sound and healthy. He had an instinctive shrinking from everything in art or literature or nature which showed the least tendency to grotesqueness or morbidity. Medieval art possessed no attractions for him. He disliked the style of Dante because of what he thought its repulsiveness and want of form. The polished elegance of Tennyson attracted him : the waywardness of Browning displeased his taste. In fact, his sesthetical standard was classical; not cosmopolitan and eclectic, but strictly restrained by the laws of natural beauty as divined and followed by Greek artists and the best of the Italians. Form he greatly preferred to colour. All objects of art which depend for their attraction upon remote asso- ciations, antiquarian interest, or mere magnificence of hue, had but * It may not here be out of place to mention one of his most marked characteristics, for which our language has no word so expressive as the Greek. avTapiefia. The friends for whose judgment he entertained the deepest respect,. and with whom he most willingly exchanged -ideas, can best bear witness to his- independence. He never sought advice or declined responsibility; but in the most intricate affairs of life relied entirely on his own conscientious deliberation. This self-sufficing strength of character gave great force and value to his counsel. CHARACTERISTICS OF HIS TASTE. xxiil. little value in his eyes ; nor could he tolerate the pursuit of such articles of rarity as old china or old furniture in which there is no intrinsic heauty of design. A similar sympathy for what is harmonious led him to prefer Italian to Swiss scenery; lawns, meadows, and wooded streams to rocks and glaciers ; the tranquil and dignified to the sublime and agitated aspects of nature. Owing to this delicacy of taste he disliked emphatic writing and extravagant incidents in works of fiction : he preferred the smoothness of Miss Austen's novel writing to the intensity of Charlotte Bronte ; while the sternness of George Eliot's philosophy found less favour with him than the genial worldly wisdom of Trollope. His own experience of what is terrible in human histories made him avoid the artistic presentation of vehement passions and heart-rending tragedies. Culture and refinement were in fact so nicely blended in his nature with profound tenderness that he could not endure to con- template in fiction what he had too often witnessed in real life. From another point of view the same quality of mind prevented him from admiring many works which though artistically splendid are morally repellent. Though a great reader of biographies he never took the least interest in the memoirs of Cellini or Eousseau, because the revelation of excessive or ill ordered passions grieved him. In like manner, while admitting the greatness of Goethe as a poet and a thinker, he never made a friend of him, and rarely returned after one reading to any of his works. The French novelists, Balzac, George Sand, and Victor Hugo, were for similar reasons excluded from his sympathy. It was long before he conquered his aversion to the grotesque mannerism of Carlyle ; and after submitting to the charm of this great master's writing he admired the panegyrist of Cromwell rather than the scene-painter of the French Eevolution. This negative account of the peculiar quality of his artistic sense may be best illustrated and supplemented by the mention of Eaphael and Milton, as the painter and the poet to whom he gave his earliest adherence, and for whom he retained to the last his profoundest veneration. The healthy beauty of the one, the majesty MEMOIR. of the other, the moral purity and dignity of both, seemed to satisfy all the requirements of his nature. The qualities of taste which I have attempted thus to charac- terize are very noticeable in the poetry of Dr. Syrnonds a few specimens of which I have included in this collection. Correctness of expression, distinctness of idea, precision of form, elevation of sentiment, harmony and serenity of intellect are traceable in every line. It would be difficult to say that any English poet has been imitated, or that these poems belong to any one school of verse. Yet there is a moral strength and dignity, a philosophical repose, a felicity of grave and studied diction, a parsimony of mere ornament, about them all which remind us perhaps more of "Wordsworth than of any other master, proving that their author belonged to the same order of genius as the singer of the " Ode to Duty." 18681871. In the autumn of 1868 the first symptoms of declining health made themselves manifest in an attack of illness, from which Dr. Symonds but partially recovered during the ensuing winter. His strength returned so slowly that, yielding to the persuasions of his friends, he determined in the March of 1869 to take a longer tour than any he had previously indulged in. To visit Eome and Naples had long been one of his most dearly cherished wishes. Accordingly lie travelled southward, as quickly as the inconveniences of a very severe Italian spring permitted, with his youngest daughter, and established himself with the intention of spending some time in the Hotel Costanzi at Eome. But the climate proved unfavourable to his health ; and Eome itself was too full of mental stimulus for one who needed rest. Pictures, sculpture, antiquities, ruins, all the accumulated interests and associations of the capital of the world claimed his attention and aroused his old activity. He fell ill and dreaded an attack of Eoman fever, to avoid which he removed to Castellammare, near Naples, and thence again with the advance of DECLINING HEALTH. XXV. spring moved northwards to Florence. There his weakness returned with greater force, and he was obliged to quit Florence for Venice. After this he travelled slowly homewards through Tyrol and Germany, somewhat, although but superficially, restored in health. It is melancholy to think of this journey, anticipated through years of toil with feelings of the most vivid expectation, but rendered worse than useless for all purposes of pleasure by the illness and debility which constantly reminded the traveller of the change which had come over him. At this time, however, prolonged repose and careful attention to health might still have arrested the undefined and insidious approach of fatal sickness. But to absolute retirement from practice Dr. Symonds would not consent, though urged to take this step by the members of his family and by his most intimate friends. He fancied that his strength was sufficiently re-established to admit of his engaging in at least a moderate amount of work. Nor did the experience of the summer fail to justify this opinion. Unfor- tunately, however, for his progress towards recovery the annual autumnal congress of the Social Science Association was to be held in 1869 at Clifton, and Dr. Symonds was appointed President of the Health Section. During the summer months he threw himself with his accustomed energy into the preparation of his address on " Health," and of a paper which he read on the repression of habitual drunkenness. The labour of composition was followed by the strain of presiding over his Section during the Congress ; added to pro- fessional duties this unusual pressure of work proved too heavy for his strength. Before Christmas he left Clifton for Brighton in the hope that change of air might restore some portion of his vigour. When he returned, he finally abandoned practice. Although his health was now most seriously broken, he had at least immunity from pain, and enjoyed the exercise of all his mental faculties. Books became more than ever his pleasure ; it seemed even possible that he might still have many years of moderate enjoyment in store for him. If before his illness his life had been a pattern of strenuous activity, it now became no less remarkable for patient endurance MEMOIR. and for cheerfulness under privation. Struck down at the early age of sixty-two, suddenly arrested in the midst of a career of usefulness, smitten by a slow disease, the nature of which he fully understood and which he vainly strove to combat, forced to exchange authority for obedience, and energy for inaction, he never mur- mured but supported himself with a philosophy of tranquil and unquestioning acceptance. During the summer of 1870 he was visited by an attack of acute illness, and for two or three weeks it was thought impossible that he should live. From this he rallied : the autumn and the early winter months were passed by him in study. He even composed and dictated at this time a review of Wallace's criticisms on the Darwinian theory of Development. The books he read were principally biographies, and works on Greek topography ; but he did not neglect even deeper subjects. Volumes of Herbert Spencer's and Mill's Essays, or of Lewis's " History of Philosophy " might often have been seen upon his desk, or, as the weeks went on, upon the bed to which he was now frequently confined. "With the beginning of the new year a decided change took place. He grew weaker and weaker, till at last he died on the 25th of February. Till within a few hours of his death he retained his mental faculties intact. He astonished the physicians who visited him by the clearness and coherence of his views of his own case. Each member of his family received from his lips some touching proof that he carried with him to the grave the same affection and vivid interest which he had shewn to them through life. To the last he continued to converse with pleasure upon all topics, showing a "mind at rest perfectly content to quit this world, serene in the certainty that it must be well with those who have striven to conform themselves to the Divine Will. I am unwilling to do more than touch upon a subject so sacred as the faith by which the soul of this good and great man was supported throughout life and sustained in the hour of death. It was a faith that cannot be described by any formula or reduced to the shibboleth of any sect, a faith so strong and vital and instinctive, so deeply PEKSONAL CHARACTER. XXVlL- seated in the mental and moral nature, so far above the petty strifes and temporary phases of conflicting dogmas, so carefully reasoned, so reverently preserved, that it seemed to be the very source of life to him who held it.* In passing from this brief and meagre record of the facts of my father's life to the attempt to estimate his personal character, I shrink from a task which it is impossible for a son, especially in the first sorrow of bereavement, to fulfil. What, however, I could not do myself has been done for me by one who knew and loved him truly. The following letter addressed to me by my brother-in-law, Sir Edward Strachey, leaves nothing in this respect to be added or desired : " You ask me to give you something of my estimate of your father's character. I will do what I can ; tut I feel that my relationship with him by marriage, and our long and intimate friendship, before as well as since my marriage, in some respects disqualify me from giving such an estimate, though they have perhaps afforded me better opportunity than most others of knowing what that character was. For I cannot be expected I cannot even desire to be an impartial judge in this matter. I am conscious that my language must be that of eulogy, even while I believe that it is most sincere. I do not indeed think I shall pass the limits of the strictest impartiality if I say that if I sum up your father's character in one word, that word is magnanimity. He was great in intellect and in intellectual tastes and habits ; he was great in the force, the dignity, and the purity of his life ; and he was great if I say greatest, it is not to diminish the weight of my former words in his affections, in the deep and strong, yet tender and overflowing love which he felt and shewed first to his own children and family, but beyond them, in an ever- widening circle of kindness, humanity and philanthropy towards all with whom he came in contact in life, or contemplated from a distance. And this strong human affection was united with a piety towards God, a sense of the good- ness of God, and a personal thankfulness to God for his own share of that * The following extract from a letter, written by Dr. Symonds to a friend in 1851, very distinctly expresses what were his opinions about the relation of the religious to the active life : " God is the centre of the moral as of the physical world. It has pleased Him to place our souls, like the starry spheres, in orbits that are governed by centripetal and centrifugal forces : the former draw us towards Him; the latter propel us through those scenes of outward life where our work and our duty lies. Moved too centripetally, we become ascetic or fanatical. Carried away too centrifagally, it is well if we do not fly off at a tangent into chaos, or to the devil, the Lord of that domain of lost intelligences." xxviii. MEMOIR. goodness, the expression of which, because it was so living, ever came upon me with the force of novelty, though a not uncommon subject of discourse between us. It was a piety which bore in its spontaneous and habitual utterance the best evidence of its life and freshness ; and I hardly needed our frequent and unreserved discussion of these matters on the ground and by the tests of truth and reason to enable me to know how living and fresh it was, and how far from being the mere continuation of the habitual beliefs which a man of blameless life will often retain from the religious education of his childhood without much sense of their practical reality. " Your father possessed what Coleridge defined as ' commanding genius,' the genius of action as distinguished from that of philosophic contemplation and origination. Those who are best able to pronounce a judgment on his pro- fessional character his brother physicians will, I believe, agree that he had reached the highest knowledge and skill as a physician ; that none had attained to more of the science and the art of medicine ; and that if he had not preferred Clifton to London no name would have been more eminent than his in the profession. But while the practice practice resting on the scientific study of medicine was the real work of his life, to which all other things were habitually subordinated, there was no subject of human interest, however remote it might seem from his daily work, of which his active mind did not take thoughtful notice. Art, poetry, history, science, philosophy, and politics, in their oldest and their newest forms, recorded on Egyptian monuments, or in the last publications of the day, ' nil humani a se alienum putavit ;' and those who habitually enjoyed, as you and I and so many more did, his brilliant yet thoughtful conversation in his most hospitable home, will add, ' nihil quod tetigit non ornavit.' And he was even more remarkable for his moral force than for his intellectual activity, though the two were so well tempered together that I have often thought that he might have been a great statesman if he had made politics the business of his life. 1 Never hasting, never resting,' he seemed to us in past years to possess that physical frame ' incapable of fatigue ' which too has been said to be indis- pensable to a statesman ; but now that we know too late how he suffered from serious disease, originating doubtless in over-work, yet for a long time not arresting that work, we know that his apparent physical energy must have been sustained by a still greater moral energy a will as well-regulated as it was strong, directing his whole powers along that course of action which duty prescribed. A deep and strong sense of duty sometimes gives a man, especially if of firm will, a sternness of character ; but this was not so with your father ; his strength was that of a man, but his tenderness was that of a woman. I do not speak of what he was to us and in all his family relationships : of these things we must say with Tennyson, ' Open converse there is none,' the children by the hearth can only think in silence, ' How good ! how kind ! and he is gone.' But recollections crowd upon me of his sympathy with the suffer- ings, the anxieties, or the hopes of those with whom his profession brought him PERSONAL CHARACTER. xxix. in contact, or whom he heard or read of in the outer world. Those who knew him best knew best how genuine that sympathy was, and that it was no mere softness of manner which might be expected in any master of the physician's art. I will mention two instances which his friends could multiply an hundred fold, of his sympathetic goodness. He had been attending a sick clergyman who had come to Clifton with his family to be under his care, and had taken the usual fees for some months. He knew nothing of the circumstances of the family, which appeared to be good ; but just before they left something occurred which suggested to him a suspicion that such was not the case. On this mere hint, with a generosity which none of us can think unusual in him, he sent a cheque for the whole amount of those fees to the wife of the clergyman, and was repaid by her telling him that his gift was of the utmost value to them, for that notwithstanding all appearances, it had been only by the greatest sacrifices that they had been able to spend those months at Clifton for the sake of his advice. On another occasion, a small farmer in my neighbourhood (who told me the story a short time since, though it occurred ten or eleven years ago), went by the advice of the country doctor to beg your father to visit his wife who was in danger beyond the reach of country skill. It was at night, and in the worst wintry weather, and when your father came in at the end of a hard day's work he found the farmer waiting with the application. The distance was several miles ; and your father told the farmer that he himself was so unwell that he was not able to undertake the journey that night. He urged that the woman was very ill : your father asked whether she was related to him ; and when he replied that she was his wife and the mother of ten children, your father, ill and tired as he plainly was, said, ' I'll come ;' and to his visit that night the farmer doubts not that he owes it that his wife still lives. His sym- pathy with the actual sufferings of his patients and their friends was such that he has told me that he sometimes felt as if he could hardly continue his practice ; yet, on the other hand, when in the prospect of his failing health I have talked with him of the desirableness of his retiring from work, he always recurred to the doubt whether he could rightly for such questions ever became with him, as by unconscious instinct, questions of right withdraw from the use of that power of alleviating human suffering which he had acquired in long years of experience. In that well-balanced mind I cannot contemplate the spirit of duty which pervaded every action without recognizing the not less everywhere present and powerful spirit of sympathy, responsive to every form of life and happiness, and still more to every form of suffering and sorrow. " His whole life was ' nothing but good and fair ' in all the meaning which the old Greeks he loved so well gave to those words, and the still deeper meaning with which his not less-loved Milton repeats them. 'Home he's gone and taken his wages ;' if he sleeps, it is a sleep from which, as he wrote oc your mother's and now his tomb, there is a waking."* XXX. MEMOIR. Some words must be added respecting Dr. Symonds' purely professional qualities. Here I can do no more than attempt to record the opinion expressed by the best judges among his brethren. They are unanimously agreed in speaking most highly of the -sagacity and logical acumen with which he brought his wide expe- rience and accurate scientific knowledge to bear upon the cases that fell beneath his observation. Dr. Symonds was equally strong in the analysis of disease and in the anticipation of its probable progress, duration, and ultimate determination. Gifted with a singular faculty for reading the physiognomy of sickness, he was led by an unerring tact to divine which organs were in fault, to estimate in complicated cases the bearing of several disorders on each other, and to calculate the endurance which the constitution might be expected to display. In his employment of remedies he was especially skilful. The sagacity which led him to detect the lurking sources of disease and the sustained reasoning by which he was enabled to calculate its future course, did not desert him in the department of therapeutics. That he looked upon as the peculiar province of the practical physician as distinguished from the pathologist. The whole humanity of his nature came to the aid of his science and his reason when he found himself face to face with his enemy in the shape of disease that could be conquered, or when, the resources of art to restore health proving unavailing, he had nothing left but to alleviate suffering and prolong life. In com- bining drugs of different qualities, so as to render them reciprocally powerful ; in suiting his remedies to the peculiar temperament of each patient ; in uniting several methods of treatment and making them co-operate to the one object of a cure, he showed remarkable dexterity. Though resolute in pursuing a plan adopted witli deliberation, and not easily daunted by apparent obstacles or temporary ill-success, he was always ready with fresh expedients ; indeed, there seemed no end to his inventiveness. He was never wedded to one theory, never preoccupied by pet opinions, nor biassed, ;as is often the case with men whose reason forms a less sure PROFESSIONAL QUALITIES. XXxi. counterpoise to their imagination, by the results of peculiar expe- rience and observation. Accurately to examine, dispassionately to judge, and then, guided by vigorous reasoning, to exhaust all the resources of his art in the sole interest of his patient was the simple .rule of his professional conduct. With regard to his dealings with his brethren there is but one opinion that he combined consum- mate courtesy, perfect justice, and scrupulous honour, with a weight of personal influence, and a scientific ability that rendered his : assistance in consultation invaluable. In confirmation and support of this brief estimate, I shall here insert a quotation from the obituary notice published in the British Medical Journal (March 11, 1871), from information communicated by two of the most distinguished physicians of Clifton : "In looking back upon his career it is impossible not to record certain eminent characteristics. He had a great love and honour for his profession. He was always most anxious that the science of medicine should take its proper pkce in the minds both of scientific men and of the general public. As a practitioner he was cautious in diagnosis, but often vigorous in treatment. As o. consulting physician, he had no rival in the West of England, combining qualities which commended him in the highest degree to the profession and to the public. While availing himself to the fullest extent of the observations of the medical attendant, he was careful himself to test every point that was capable of verification ; and while he suffered no consideration to interfere with the course most likely to benefit the patient, he always yielded due honour to his professional brethren, and due weight to their opinions. His liberality to his juniors in the profession was carried to a very unusual degree, and his hand was ever held out to help others to rise. His acumen in diagnosis, especially in diseases of the heart and lungs, was very remarkable ; and his memory of former cases was so good that in the most difficult circumstances he could always afford practical suggestions of the utmost value. His brilliant powers of reasoning, his untiring energy, his regular habits, his marvellous sympathy with suffering, and his general trustworthiness were all elements in attaining a success, which it is not too much to say, has been unrivalled by any provincial physician in this generation. "On the whole, there was a rare completeness and rotundity about Dr. Symonds's character and career. Though he died at the comparatively early age of sixty-three, he had long before attained all the honours that are open to a physician in a great provincial city. In all matters not purely political or municipal, he was looked up to and referred to by his fellow-citizens as their natural leader and adviser, and thus held a position among them too seldom XXxii. MEMOIR. occupied by men of his profession, and which he owed to a singular combination of endowments, high literary and scientific as well as professional attainments, cultivation and elegance in speaking and in writing, intuitive tact and know- ledge of men, ready hospitality and unostentatious generosity. His power of self-control, his thorough mastery over his whole moral and intellectual nature was one of his most remarkable characteristics ; and his warm and generous feelings, directed and controlled by a sound judgment, diffused a steady glow of beneficence around him." Enough perhaps has now been said to give some faint idea of the character and genius of a man whom those who loved him felt to be as good and great as man on earth may be. Yet I cannot bring my task to a close without transcribing for the readers of the following pages a passage in which he has himself expressed his own ideal of a perfect character, leaving those who knew him to answer whether through the whole course of his blameless life he did not realize in every act and thought and word that beauty to which he here so powerfully and reverently alludes : " I dare not venture on more sacred ground ; but he who has had the happiness of watching the lives of those who, in passing through the world, escape contamination ; who devote their faculties, endowments, and exertions to the promotion of the happiness of others, by making them wiser and better ; and who shew in all their actions and feelings and endurances that the moral sentiments are developed to the greatest height commensurate with humanity because they are interpenetrated with, and become assimilated to, the divine light and the divine pattern ; he who has watched the course of such lives and characters will understand what is signified by ' the beauty of holiness.' " THE PRINCIPLES OF BEAUTY. word Beauty has two meanings, being used in a manner analogous to that in which the word Heat is employed. For as ^r<5j-> the latter is applied both to the feeling of heat, and also to the "V property in outward bodies which causes the feeling, so Beauty expresses both the feeling in the mind and its external cause. But the analogy will not bear to be extended further. Heat, for instance, so far as its operation on matter is concerned, may be considered quite apart from any impression on a percipient mind, and can be conceived to consist independently of mind : but the conception of Beauty always involves a mental impression or action. Exclude feeling and thought, and no place will be found for Beauty. It will be at once a convenient and a natural arrangement of the subject to consider Beauty in relation, first, to Sensation ; secondly, to Thought or Reflection ; thirdly, to Moral Sentiments ; and fourthly, to Associated Emotions. After these topics, we shall conclude with a few remarks on the Uses of Beauty. II. THOUGH we speak of Beauty as having sensation for one of its causes, it must be borne in mind that it is only such sensation as comes through the eye and the ear. The senses of sight and hearing have been called the art-senses, and are distinguished from the others by B THE PRINCIPLES OF BEAUTY. their greater objectivity. Of their results our own personality forms a smaller part. Taste and smell and touch we cannot describe but in terms which involve our own bodily consciousness as part of the sensation. We feel the taste, the smell, the touch ; but the hill, the tree, the bird, the thunder, the wind, and the song, are spoken of as separate from our own personality, and without reference to our organs or nerves of seeing and hearing. We may in subsequent observations and reflections ascertain or infer that these objects were made known to us by the instrumentality of our eyes and ears ; but neither these organs, nor any part of our corporeal personality, were brought before our minds in the first perceptions of such sights and sounds. Our English word feeling seems to belong especially to those states of consciousness of which the Ego or personal consciousness is the principal part ; for examples, the emotions, the moral sentiments, the internal bodily sensations (hunger, thirst, &c.), and the outward sensations caused by the contact of external bodies with the skin and by the action of the muscles, in tact and touch. And though we do not use exactly such a phrase as feeling a flavour, or an odour, yet we must admit that there is more affinity between these two sensations and bodily feelings, than between the latter and the sensations of sight and hearing. Into the sentiment of Beauty through sense objectivity necessarily enters. The pleasure ensuing on sight and sound has a characteristic difference, which we express by the word beautiful ; but pleasant odours and flavours are described as delicious a word which involves a degree of subjectivity or personal delight approaching to the sensual. Of all. the sources of pleasure, perhaps the most frequent is that of sight. Sight more frequently, extensively, and importantly than any other sense, put us in relation with the outer world ; and the quality by which we designate the pleasure which accompanies this sense is applied by metaphor to almost everything which gives us either agreeable feeling, or mental enjoyment. There is no better definition of what is beautiful, in its simplest essence, than the phrase which we meet with early in the Bible " pleasant to the eye." Yisual pleasure is the germinal form of Beauty. " Truly the light is sweet, and it is a pleasant thing for the eyes to behold the sun." But the word receives far more extensive and more complex applications. By the transitions of language it often expresses that of which visual pleasure is no component, or a very small one. An infant's delight in a brilliant object, or some vivid SENSATIONAL BEAUTY. colour, illustrates the simplest form of beauty. The mother, looking fondly at the infant's smiling face, and hearing its crow of joy, has a more composite feeling of the Beautiful. A philosopher, watching the two, exclaims, "What beautiful illustrations of my theory!" using the epithet partly in its metaphorical sense, but also in expres- sion of a kind of beauty, namely, that of fitness, which may be considered hereafter. Why certain feelings give us pleasure, it is often difficult to explain. But there are some general facts, which belong, more or less, to all pleasurable feelings. Thus pleasure will result from the mere novelty of the sensation and with an obvious final cause independent of the enjoyment, since it calls our attention to the outer world, and makes the business of learning outward things an agreeable excitement instead of a toil ; but if there is nothing in the impression but its novelty to afford us pleasure, the enjoyment soon ceases. Nature, however, is so rich, and art so fertile, that this source of pleasure never fails, and it meets us under the form of what we call variety. It is this which gives liveliness, piquancy, and animation to our every-day life. How much we prize it, is evident from many of the terms of commendation which we apply to things which are fresh and new and unworn " To-morrow to fresh woods and pastures new !" But it will not alone suffice to impart pleasure. It will not make an agreeable sensation out of one that is in its nature disagree- able. But if the sensation be of a neutral character, the novelty will bestow on it a kind of charm, which betrays the feelings into a sense of the beautiful ; and often erroneously, as we see in new fashions of dress. Impressions, pleasant in themselves, pall by too frequent repetition, or too long a continuance, and at last fail to awake the con- sciousness, unless united with some collateral interest. But change must not be abrupt or sudden ; or, if it be so, the impression must dwell long enough for the first effect of suddenness to subside. Quick exchanges of light and shade, of sound and silence, by no means afford that sort of pleasure which would be called beautiful. They are rather alternations of surprise and disappoint- ment. A vivid impression ought to cease gradually, or to pass by degrees into that which is to succeed. This is the agreeableness of continuity. Besides variety and continuity, there is another circumstance under which sensation gives pleasure, viz. similarity. Repetition is agreeable, THE PRINCIPLES OF BEAUTY. not only if the thing is pleasant in itself, and before the repetition- palls, but also through the recognition of the feeling, as being like what had been felt before. That enjoyment should accrue from the perception of similarities is scarcely less important than the gratifica- tion of variety, because we thus learn to classify the objects of our knowledge. But mere likeness without difference becomes distasteful sameness or dull uniformity, just as mere variety without likeness would be intolerable ; for in this case there would a number of insu- lated experiences without any connection; and the perception of relations is one of the deepest wants of our nature. The pleasure derived from similarity enters largely into the beauty of symmetry. This side is like that. This curve corresponds to that. And it is like with a difference ; the difference being in place or material (idem, in alioj. It is similarity which constitutes the pleasure derived from imitation, and not merely the pleasure of witnessing the successful production of likeness ; for, even if the imitation is accidental, the spectator is pleased, as in the fortuitous resemblances occasionally seen in nature as of stones which have some resemblances to plants, or of plants which in a manner resemble animals. This kind of pleasure is derived from those lowest works of art which are mere copies of natural or artificial objects. Similarity enlivened by difference, variety restrained by unity, may be found in all the arrangements of light and shade, form, and colour, and sound, which are most pleasing to the eye and to the ear ; and the same principles may be traced in those movements of the body which are attended with pleasure. Most of our sensations are received in conjunction with muscular action. This exercise must be easy, or the enjoyment will be spoilt. In muscular exercise there is constant alternation of action and repose. To be pleasant, the movements should occasion no feeling of effort or fatigue. The pleasure which ensues on the action is not referred to the moving parts, but there is an agreeable condition of the personal consciousness. To render it pleasant there must be sufficient rest to prevent fatigue ; and this is effected by change in the direction of the movements, so that different muscles may be employed, or the same muscles in different degrees. The pleasure is enhanced when the alternations of action and repose occur at regular intervals. Thus it is easier to march or dance to music. We have said that the sudden change of a sensation is disagreeable. The same may be said of a muscular movement. A sudden resistance, and a sudden removal of a SENSATIONAL BEAUTY. resistance, are almost equally displeasing. Continuity, then, is an element in agreeable movements, as well as in pleasant sensations. The influence of similarity, and variety, and continuity may be traced in the beauty which belongs to simple lines and quite apart from all collateral suggestions. A straight line can hardly be said to be in itself either beautiful or the reverse. It has unity of direction, which, if too prolonged, may be displeasing by excess of uniformity, and by muscular fatigue. Two parallel lines are agreeable or satis- factory by reason of their similarity of direction, and their equality of distance throughout their length. Two lines converging partly enclose a space which may give pleasure to the eye, when seen in relation to some other angle, by virtue of the proportion. The angles are seen comparatively in a triangle. In the equilateral triangle the angles give the satisfaction of similarity, unity, and equality of ratio to the whole, being 60 : 60 : 60 = 180, or 1 : 3. In the right-angled isosceles, they present unity and variety, and yet definite proportions, being 1 : 1 and 1 to 2, i. e. 45 : 45 and 45 : 90. In the scalene triangle made by bisection of the equilateral we have variety governed by proportion, the angles being 30 : 60 : 90 or 1 : 2 and 2 : 3. In another scalene, we have 18 : 72 : 90, or 1 : 4 and 4 : 5. We have said that into agreeable sensation variety, continuity, and similarity enter more or less. Now a curved line presents both continuity and variety, in a manner agreeable to the sensation of sight, and calling forth an agreeable exercise of the muscles of the eye. But some curves are more pleasant than others. The circle is less agreeable than the ellipse, and the simple ellipse than the ovoid or composite ellipse. In the circle there is constant change of direction ; but every change is like its predecessor, and the general appearance is excess of uniformity or monotony. Moreover, the muscular actions which trace it, whether of the eye or of the hand, are comparatively difficult. In the ellipse the change of direction is more gradual, and the figure admits of division by the eye, without diameters, into opposites which are similar and symmetrical. The ovoid is still more beautiful from the yet greater variety of direction, with perfect facility of gradation. But it is in combinations of lines that the principles which have just been adverted to become still more obvious. If we trace a succession of straight lines of equal lengths, forming a succession of THE PRINCIPLES OF BEAUTY. equal angles (as in the pattern for ladies' work called Vandyke), the effect is not unpleasing ; for there is a variety of direction, recurring at equal intervals, that produces similarity, and thus compensates in some degree for the want of continuity and gradation : but if the successive lines are of unequal lengths, and at unequal angles, making what is called a jagged line, we have a very disagreeable effect the result of sudden transitions of direction, without any regularity of intervals. It is the excess of variety. But, in estimating the sesthetical effect of combinations of lines, we are apt to forget (and I am not aware that this subject has been hitherto noticed) the influence on the eye of the partially enclosed spaces. In following such linear forms, the eye not only pursues the lines, but it also traverses the intervening spaces. I have adduced the monotony of the circle, and the more pleasing variety of the ellipse, as explained by the direction of the curve. But, apart from the course of the line, there is an impression left on the sense by the enclosed space. The circle is always the same in form, however different in size, the radii being equal. The ellipse, on the other hand, is in its nature variable, and is at once recognised as such. It suggests a form which may vary almost indefinitely by the varying proportions between its major and minor axis. When lines are so combined as to produce only partial enclosures of space, the influence of the latter will depend on the arrangement of the lines. Thus if we take a series of semicircles of equal diameters, and arrange them on a horizontal line with the convexities uppermost, the effect is agreeable. For, though there is a repetition of the same linear form, the spaces between the semicircles are bounded by curvilinear angles, which produce a pleasing contrast. But if the semicircles are so arranged that the curves flow into each other, and so take opposite directions that is, with alternating convexities and concavities the eye is chiefly occupied with the line, the effect of which is thus equally balanced between the variety of direction and the similarity and equality of the curves. Though the effect, how- ever, is agreeable, the pleasure does not equal that which is produced by the undulating or waving line, which is made up of a succession of segments of ellipses. So much, then, for lines. But there are forms of a composite character which excite the feeling of Beauty by reason of a profounder symmetry than is at first sight discoverable, a symmetry the nature SENSATIONAL BEAUTY. of which may afford to the sesthetical student a subject of very interesting speculation. This higher kind of Beauty of Form may be perceived and delighted in without any knowledge of its source ; but there must be a certain organization of the sensorium for this effect. As it is a well-known fact that some persons are insusceptible to the enjoyment of the more complex forms of harmony of sound, so there are subtleties of symmetry beyond the range of ordinary perception. There are individuals who have not the sesthetical constitution which would enable them to recognize and enjoy the exquisite proportions of the Venus of Melos, or of the portico of the Parthenon, just as others are dead to the harmonies of Beethoven. I think I may appeal with confidence to the experience of all who have felt great delight in architecture and sculpture as to the fact of there being an intuitive perception of harmony, or a feeling of satis- faction and admiration, arising in the mind, on the contemplation of a building in its totality, very different from the enjoyment of the beauty of separate parts. A great deal of the pleasure, and indeed the most common gratification, is that which is derived from parts. We see a cathedral, and talk of the beauty of such a window, or such an arch, or transept, or cluster of pillars. Our admiration of the building, as a whole, is very different. Long before I had the least idea of the cause of my enjoyment, I remember the peculiar delight with which I looked at Salisbury Cathedral as a whole. It was not to my consciousness resolvable into an aggregate or succession of pleasant impressions from spire, tower, arches, buttresses, and windows ; but it was an indefinable sense of harmony of proportion. Common as such feelings must have been, it is remarkable that till of late they have not been satisfactorily accounted for. One source of the pleasure has been discovered and elucidated by the genius and the patient investigations of Mr. Hay. The following observation had been thrown out by Sir I. Newton in a letter to Mr. Harrington : " I am inclined to believe some general laws of the Creator prevailed with respect to the agreeable or unpleasing affections of all our senses ; at least the supposition does not derogate from the wisdom or power of God, and seems highly consonant to the simplicity of the microcosm in general." This was in answer to a suggestion of Mr. Harrington's, that the proportions in architecture are coincident with the harmonic ratios in sound. But his attempts to realize the idea THE PRINCIPLES OF BEAUTY. were founded on lineal measurements, and they were unsuccessful. Mr. Hay, having found that the harmony of forms could not be explained by ratios, derived from, lineal measurements, was led to inquire whether the clue might not be found in the proportions of the component angles. The result, after many years of acute observation and unwearied study, has been, that a form is beautiful when the space which it encloses can be analyzed into angles which bear pro- portions to each other analogous to those which subsist between the notes of music. The basis of harmony is, that, when sounds mingle agreeably, the vibrations of which they are severally composed bear such a relation to each other as is capable of a very simple numerical expression. Thus, the octave is 2 to 1 ; the dominant 2 to 3 ; the mediant 4 to 5. All the harmonics are composed of whole numbers in relation to the unit as i, ^, 1, &c. These harmonics again corres- pond to the points or nodes at which a string in vibration spontaneously divides itself. Indeed, all the numbers in which musical notes are expressed denote relations of physical agencies. Thus, the octave, or eighth note of the musical scale, is the double of the first in this respect, viz. that in a second of time the octave has double the number of vibra- tions which belong to the fundamental note. The notes composing the diatonic scale lie between the fundamental note and its octave; and the fractions belonging to them denote the relative lengths of the string, and, inversely, the proportionate number of vibrations. Thus, the octave is the sound of half the string, and the vibrations are as 2:1. Take C of the middle scale. The second note D is to C as 8 : 9, being the sound of -- of the string. While C is vibrating 8 times D vibrates 9. The vibrations of the third note E bear to those of C the ratio of 5 to 4 ; the length of the string being A. The fourth note F is sounded by f of the string, and the vibrations relatively to C are as 4 to 3. G is the fifth note, and belongs to - of the string ; and the ratio of its vibrations, in relation to the fundamental note, are as 3 to 2. The sixth note A has |- of the length, and therefore its vibrations are as 5 to 3. The seventh note has *fa t with a corres- ponding ratio of vibration. The eighth is the octave C and completes the diatonic scale. Mr. Hay has found it convenient for his analogy to adopt the old German scale, and take in B flat, which is A, and called natural in the old scale, while our B natural was formerly designated H, SENSATIONAL BEAUTY. If we follow up the notes into the higher octaves, successively, we shall find that all the numbers are multiples of 2, 3, 5, and 7. There are no other primes than these. Here is a scale of four octaves : ;(i) i C Super- Mediants. Subdomi- Dominants. Subme- Subtonics. Semi-sub- Tonics. tonics. nants. diants. tonics. U 8 ) D (I) E (I) F (i) G (i) A (I) B (ft) H (i)' c II. in. IV. [(i)* (j)' (i) (i) (i)* (A) <2 / p a 6 ft c (i) (*) (A) (i)* (ft) (*)* (ft) (1> <2 e 7 9 a b h c (i)* (A)* (i) (A) (A) (V,)* (ft)* (A)' / It is curious to observe, in passing, how the prime numbers corres- pond to the relations of unity and variety. Two is 1 + 1, and therefore the type of unity and equality. Three is 2 + 1 ; the first uneven number, and the type of variety. Five is the combination of the two types and seven also. We have remarked that harmonious notes vibrate relatively to each other in ratios of very simple numerical expression, and we have instanced those of the octave, dominant, and mediant, in relation to the fundamental note. In comparing the inter- mediate notes with these, and with each other, the same law regulates the degree of consonance and dissonance. The higher the numbers, the less is the harmony. Thus C is to D as 8 : 9, and the sound is disagreeable ; and D sounded together with E is still more displeasing, the ratio being 9:10; but D with G is quite harmonious, being 3 : 4, and so on. The following table exhibits some of these combinations. Let any one sound these notes together on the piano or the harmonium, and his ear will at once appreciate the truth of the statement, that harmony of sound and simplicity of numerical ratio go together : C C C D C E G C C E B B c G B nut. E, F G B flat B flat D, A D B flat nat. : c A, D G 1 2 3 3 4 5 6 7 8 9 14 15 2 3 4 5 5 6 7 8 9 10 15 16 10 THE PRINCIPLES OF BEAUTY. It has been the attempt of many investigators to discover harmonic ratios in the measurements of beautiful forms, both in nature and in art; but the results proved unsatisfactory when the measurements were all linear, or comparisons of heights, and lengths, and breadths. Mr. Hay was the first to conceive the idea of measuring and testing the proportions of component angles in such forms. The working out of his idea, in a very large number of instances, has been attended with the most gratifying success. With some of these results I shall endeavour to make my readers acquainted. Those who wish to pursue the inquiry further will, of course, study the works of Mr. Hay. It will be necessary, however, to premise a few words respecting the geometrical figures into which beautiful forms may be resolved. The chief of these are the triangle, the rectangle, the circle, the ellipse, and the composite ellipse. The varieties of these may be designated by some one angle, which is therefore the governing angle. The equilateral triangle has its angles equal, each being 60. But, if the triangle be bisected, it gives two right-angled scalene triangles equal to each other. A scalene triangle thus formed contains the angles 30, 60, 90. It is called the triangle of ^ the smaller angle being one-third of a right angle. And any scalene right-angled triangle is designated by the proportion which the smaller angle bears to the right angle. Thus, should the smaller angle be 22 30', the triangle would be called the triangle of ; of 18, i; and so on. The isosceles right-angled triangle is half of a square made by the diagonal. The two smaller angles are equal, each being 45, and therefore bearing to 90 the ratio of 1 : 2. This triangle is then a triangle of . Rectangles are designated by the angles formed by their diagonals. The square is a rectangle of ; other rectangles may be rectangles of }> *> !> &c., according to the ratios of the smaller angles of their com- ponent triangles to the right angle. (See Plate I.) A circle may be inscribed within a square or a square within a circle. The circle is therefore a curvilinear form of , being governed by the angle of 45, which is a tonic angle. The ellipse is of very variable dimensions measurable by the triangle formed by the semi- axes, and a line joining their extremities. If this triangle be governed by an angle of 30, the ellipse is an ellipse of ^, or a dominant ellipse. Parallelograms and ellipses are correlative like the square and the circle. (See Plate H) SENSATIONAL BEAUTY. 11 These proportions have been derived, as it will be remembered, from the right angle. According to Mr. Hay's system of harmonic proportion any angle may be taken as the fundamental angle : but the other angles must bear proportions expressible in numbers corres- ponding to those which belong to the ratios in music ; and angles, parallelograms, and curves, are spoken of as dominants, mediants, tonics, supertonics, &c., as indicating those ratios to the fundamental angle. They bear also harmonious or discordant ratios to each other, analogous to those which have been already pointed out in the several notes of the diatonic scale. We are now prepared for the illustration of these principles by the results of an analysis of certain acknowledged forms of beauty. The symmetrical beauty of the human face and head is mainly dependent on the bony structures. The beauty of expression, or the beauty belonging to variety, results from the action of the muscles in the play of the features ; but with the former are we now chiefly occupied. The configuration of the cranium approaches more or less to that of a globe ; and the configuration of the face to that of a prolate spheroid. The circle will represent the former, the ellipse the latter. A diagram may be constructed in which the circle and ellipse shall have a certain relation to each other as to their diameters, and in which lines drawn from one extremity of the major axis of the ellipse, and making harmonic angles with it, shall intersect the curve of the ellipse at points which mark the most important divisions of the face and head, and thus lay the foundations of a beauty which corresponds to that of the finest specimens of Greek sculpture. I take the follow- ing description, and the explanatory plate, from Mr. Hay's last work, "The Science of Beauty," pp. 5860. " The angles which govern the form and proportions of the human head and countenance are, with the right angle, a series of seven, which, from the simplicity of their ratios to each other, are calculated to produce the most perfect concord. It consists of the right angle and its following parts : Tonic. Dominant. Mediant. Subtonic. (i) (i) (J) (t) a) CD " These angles, and the figures which belong to them, are thus arranged : 12 THE PRINCIPLES OF BEAUTY. " The vertical line A B (Plate IH. fig. 2) represents the full length of the head and face. Taking this line as the greater axis of an ellipse of Q-), such an ellipse is described around it. Through A the lines A G, A K, A L, A M, and A N, are drawn on each side of the line A B, making, with the vertical, respectively the angles of (4-), (), (I), (), and (i). Through the points G, K, L, M, and N, where these straight lines meet the curved line of the ellipse, horizontal lines are drawn by which the following isosceles triangles are formed, A G G, A K K, A L L, A M M, and A N N. From the centre X of the equilateral triangle A G G the curvilinear figure of (), viz., the circle, is described circumscribing that triangle. " The curvilinear plane figures of () and (4-), respectively, repre- sent the solid bodies of which they are sections, viz., a sphere and a prolate spheroid. These bodies, from the manner in which they are here placed, are partially amalgamated, as shewn in figures 1 and 3 of the same plate, thus representing the form of the human head and countenance, both in their external appearance and osseous structure, more correctly than they could be represented by any other geome- trical figures. Thus the angles of (^) and (|-) determine the typical form. "From each of the points u and n, where A M cuts G G on both sides of A B, a circle is described through the points p and q, where A K cuts G G on both sides of A B, and with the same radius a circle is described from the point a, where K K cuts A B. " The circle u and n determine the position and size of the eyeballs, and the circle a the width of the nose, as also the horizontal width of the mouth. " The lines G G and K K also determine the length of the join- ings of the ear to the head. The lines L L and M M determine the vertical width of the mouth and lips when at perfect repose, and the line N N the superior edge of the chin. Thus simply are the features arranged and proportioned on the facial surface." That this theoretical calculation by Mr. Hay will bear an experi- mental test I proved, in a very interesting manner, not long ago. I took the height of a lady's head, measured from the vertex to a horizontal line, drawn at right angles to it from the termination of the chin. This lady is remarkable for the classical beauty of form in her face and head. Upon this line I constructed a diagram, representing the proportions of the profile, as in figure 3 that is, describing a SENSATIONAL BEAUTY. circle, a dominant ellipse, and the angles of %, , , , and . The features were sketched in, so as to conform to a Greek model, by my daughter, who was not at all familiar with the lady's face. When the diagram was afterwards applied to the living face and head, the correspondence of the general contour and of the several divisions, forehead, nose, and mouth, was singularly close, and yet the only measurement taken from life was, as I have said, the height from vertex to chin. The importance of the human figure as a type of Beauty has been recognized in all times. Yitruvius says: "No building can possess the attributes of composition in which symmetry and proportion are disregarded ; nor unless there exists that perfect conformation of parts which may be observed in a well-formed human being." In a letter addressed by Michael Angelo to Cosmo I. there is the following pas- sage : " The nose, planted in the middle of the face, does not depend on one or the other eye ; but the one hand must necessarily resemble the other, and the one eye should answer to the other, and also rela- tively to the corresponding parts of the face in which they are placed ; so the members of architecture may be said to depend in a certain sense on those of the human body. He who is not a good master of the human figure, and especially of anatomy, cannot comprehend the principle I insist upon."* To ascertain the due proportions of the human figure various measurements have been proposed ; and although they have all yielded some practical success, as guides to drawing and composition, yet they do not impress the mind as having been founded upon any law involv- ing unity of design, or harmonizing with any other facts in the order of nature. Many of the modes of measurement have been very empirical ; almost absurdly so. Thus the whole height of the body is the length of the foot so many times repeated, or so many heads ; and the proportions of the head are so many noses : and so on. Carus takes a third of the moveable part of the vertebral column as the unit of measurement ; but, as his able reviewer in the Quarterly Review (1856) remarks, "the choice is certainly arbitrary, and the grounds by which he justifies it are fanciful;" though the reviewer adds, " it supplies us with a convenient unit of measurement, and one to which the dimensions of many important parts are closely and very. * Harford's Life of Michael Angelo, vol. ii. p. 185. 14 THE PRINCIPLES OF BEAUTY. simply adjusted." But, according to Mr. Hay's theory, the same principle of measurement which develops beautiful proportions in the human head is not only applicable to the whole figure also, but it likewise yields equally satisfactory results when applied to beautiful forms in architecture and in fictile art. " The manner of applying this system in imparting proportions to a representation of the human figure, and thereby synthetically develop- ing in it the operation of the law in question, is to adopt, as a fundamental angle, either ^, T 8 ^, , ^, -^, T 7 5 , or ^ of the semicircle, according to whether feminine beauty or masculine power may be the required characteristic of the figure to be represented. For, as in architecture, some structures being designed for temples of worship, and others for castles of defence, their fitness for these purposes will materially affect their respective aesthetic proportions ; so likewise in the human figure, the chief characteristic in the typical female form being pure and simple beauty, while that of the typical male form is beauty modified by massive strength ; the basis on which each of the figures is constructed might be presumed to have reference to the sensations it would awaken the one of loveliness, the other of strength. Yet the relative proportions of the parts in each case ought to develop the same aesthetic laws, although in different modes. Such are the qualities of fitness which characterize the beauty of the Venus, as compared with that of the Hercules of the ancients, and render these statues perfect types of the sexes. "In the above series of angles, the smallest (| the semicircle) gives the proportions of the Venus, and the largest (4 the semicircle) those of the Hercules ; so that the intermediate angles maybe adapted to all intermediate classes of proportions, such as were imparted by the ancient Greeks to the statues of their other deities and their heroes. " The angle, adopted as a fundamental or tonic angle (which we shall in the present case suppose to be the first or the semicircle), is divided agreeably to the spontaneous division of the monochord into the following : Tonic Dominant Mediant Sub-tonic Super-tonic angles. angles. angles. angles. angle. (0 (i) (i) (4) 0) (D (i) (A) (Js) (W (s) " From the extremities of a vertical line of a given length, repre- senting the full height of the intended figure (whether its dimensions SENSATIONAL BEAUTY. 15 are to be those of a small gem, a colossal statue, or anything inter- mediate in size), a series of oblique lines are drawn, making with it the above angles ; then another vertical line is drawn, the situation of which is determined by the intersection of one of the tonic lines, drawn from one extremity, with one of the dominant lines drawn from the other ; and to complete the rectilinear portion of the diagram, a series of horizontal lines are added, whose situations are also determined by the intersections of the oblique lines. With this rectilinear portion, a series of curvilinear figures are associated, and these belong to the tonic, the dominant, and the mediant angles, and their sizes and situa- tions are determined by the vertical, horizontal, and oblique lines already drawn. Thus simply may diagrams of the human figure be produced of any required dimensions or characteristic proportions."* The diagrams of Plate IV. illustrate the following facts ; firstly, That on a given line, the figure is developed as to its principal points entirely by lines drawn either from the extremities of this line or from some obvious and determined localities ; and secondly, That the angles which these lines make with the given line are all simple multiples or sub-multiples of some given fundamental angle, or bear to it a propor- tion, admissible under the most simple relations, such as those which constitute the scale of music. The diagrams Plate Y. illustrate the curves of the outline of the human figure, viewed in front and in profile. This contour may be resolved into a series of ellipses, governed by the same simple angles ; and these ellipses, like the lines, are inclined to the first given line by angles which are simple multiples or sub-multiples of the given fundamental angle. " Manner in which these curves are disposed in the lateral outline -of the human figure as viewed from the front (figure 1, Plate V.) : Points. Curves. Head from 1 to 2 (J) Face " 2 " 3 (J) Neck " 3 4 (J) Shoulder " 4 " 6 (i) " " 6 8 (J) Trunk " 9 " 15 (J) " " 21 " 24 (J) Outer surface of thigh and leg- " 15 "20 (J) Inner surface of thigh and leg- " 25 " 30 (J) Outer surface of the arm - " 8 " 33 (J) Inner surface of the arm - " 9 " 36 (J) * Hay's Natural Principles of Beauty, pp. 9 11. 16 THE PRINCIPLES OF BEAUTY. "Manner in which they are disposed in the outline of the human figure as viewed in profile (figure 2, Plate V.) : Points. Curves. Front of neck .... from 1 to 2 (J) ' " trunk - - - " 2 " 10 (J) Back of neck - - - " 16 " 18 () " " trunk - . - " 18 " 23 (J) ' " " " - - - - " 23 " 25 (J) Front of thigh and leg - " 11 " 13 (J) " - - 13 " 15 (J) Back of thigh and leg - " 25 " 32 () Front of the arm - . " 33 " 37 (J) Back of the arm - - " 38 " 40 (I) Foot ..... " " () "In order to exemplify more clearly the manner in which these various curves appear in the outline of the figure, I give in Plate VI. the whole curvilinear figures, complete, to which these portions belong that form the outline of the sides of the head, neck, and trunk, and of the outer surface of the thighs and legs. "The axes of these ellipses form angles with the vertical line, which bear the following harmonic ratios to the right angle : Parts of Angle to which the Angle of inclination Outline. curve belongs of major axis of conre. From Ito 2 ... (J) ... (0) " 2 " 3 ... (J) ... (0) " 3 " 4 ... (J) ... (0) " * " 5 --. (J) .-- (|) " 5 6 ... (i) ... (|) " 6 8 - - . () ... (}) " 9 ' ; 10 - - - (J) - - - (I) " 10 " 11 --- (J) ... (J) " 11 " 13 ... (J) ... (.^) " 13 "15 - - ... (J) - ... - (I) " 15 " 16 ... (J) ... () " 16 " 18 ... (J) - -. - (?) " 18 " 19 ... (J) ... (i) 19 20 - - . (J) - . . " Thus there is a perfect harmony of combination in the propor- tions of the human figure, associated with as perfect a harmony of succession in its beautifully undulated outline, the curves of which rise and fall in ever-varying degree, and melt harmoniously into one another like the notes of a pleasing melody."* Op. cit. pp. 2022. SENSATIONAL BEAUTY. 17 Mr. Hay, in conjunction with two gentlemen of eminent authority in science, Professor Kelland, Professor of Mathematics in the Uni- versity of Edinburgh, and Professor Goodsir, Professor of Anatomy in the same University, applied this system of measurement to the living model, and to those exquisite remains of Greek sculpture the Venus de' Medici and the Venus of Melos ; and the result was quite satisfactory, as showing the agreement of the proportions of the several figures with those which are defined in the harmonic theory. The proportions in works of architecture may be examined on the same principles as those which have been applied to the human face and figure. Let us follow Mr. Hay, first, in his examination of the front portico of the Parthenon of Athens. " Of all the monuments," says Mr. Kinnaird, " of ancient and modern magnificence which have been within our view, the grandeur of this (the Parthenon) alone surpassed anticipation, leaving an impression on the mind similar to, but more profound, than the charms of an harmonious fugue or of a rapturous effusion of poetry." " The angles which govern the proportions of this beautiful ele- vation are the following harmonic parts of the right angle : Tonic Dominant Mediant Subtonic Supertonic Angles. Angles. Angles. Angles. Angles. (i) (4) tt> (*) (4) a) (i) (W (A) "In Plate VII. I give a diagram of its rectilinear orthography, which is simply constructed by lines drawn either horizontally, verti- cally, or obliquely, which latter make with either of the former lines one or other of the harmonic angles in the above series. For example, the horizontal line A B represents the length of the base or surface of the upper step of the substructure of the building. The line A E, which makes an angle of () with the horizontal, determines the height of the colonnade. The line A D, which makes an angle of (i) with the horizontal, determines the height of the portico, exclusive of the pediment. The line A C, which makes an angle of (4-) with the horizontal, determines the height of the portico, including the pedi- ment. The line G D, which makes an angle of (1) with the horizontal, determines the form of the pediment. The lines E Z and L Y, which respectively make angles of (-j'g-) and (yL) with the horizontal, deter- c 18 THE PRINCIPLES OF BEAUTY. mine the breadth of the architrave, frieze, and cornice. The line v n u, which makes an angle of (^) with the verticle, determines the breadth of the triglyphs. The line t d, which makes an angle of (), determines the breadth of the metops. The lines c b r f, and a t, which make each an angle of Q-) with the vertical, determine the width of the five centre intercolumniations. The line z k, which makes an angle of (^) with the vertical, determines the width of the two remaining intercolumniations. The lines c s, q x, and y h, each of which makes an angle of (^) with the vertical, determine the diameters of the three columns on each side of the centre. The line w I, which makes an angle of (^) with the vertical, determines the diameter of the two remaining or corner columns. " In all this, the length and breadth of the parts are determined by horizontal and vertical lines, which are necessarily at right angles with each other, and the positions of which are determined by one or other of the lines making the harmonic angles above enumerated. " Now, the lengths and breadths thus so simply determined by these few angles have been proved to be correct by their agreement with the most careful measurements which could possibly be made of this exquisite specimen of formative art. These measurements were obtained by the 'Society of Diletanti,' London, who, expressly for that purpose, sent Mr. F. C. Penrose, a highly educated architect, to Athens, where he remained for about five months, engaged in the execution of this interesting commission, the results of which are now published in a magnificent volume by the Society.* The agreement was so striking, that Mr. Penrose has been publicly thanked by an eminent man of science for bearing testimony to the truth of my theory, who in doing so observes, 'The dimensions which he (Mr. Penrose) gives are to me the surest verification of the theory I could have desired. The minute discrepancies form that very element of practical incertitude, both as to execution and direct measurement, which always prevails in materialising a mathemetical calculation made under such conditions.' " After a similar illustration of the proportions of the portico of the Temple of Theseus, Mr. Hay goes on to remark : " The foregoing examples being both horizontal rectangular com- positions, the proportions of their principal parts have necessarily been determined by lines drawn from the extremities of the base, making " * Longman and Co., London." SENSATIONAL BEAUTY. 19 angles with the horizontal line, and forming thereby the diagonals of the various rectangles into which, in their leading features, they are necessarily resolved. But the example I am now about to give is of another character, being a vertical pyramidal composition, and conse- quently the proportions of its principal parts are determined by the angles which the oblique lines make with the vertical line representing the height of the elevation, and forming a series of isosceles triangles ; for the isosceles triangle is the type of all pyramidal composition. " This third example is the east end of Lincoln Cathedral, a Gothic structure, which is acknowledged to be one of the finest specimens of that style of architecture existing in this country. " The angles which govern the proportions of this elevation are the following harmonic parts of the right angle : Tonic. Dominant. Mediant. Subtonic. Supertonic. (i) (*)