rule but appears in different forms. It appears in nature in the forms of loveliness present in man, animal, and plant; in the harmony of their shapes, the purity of their colors, and the undulation of their lines; in the singing of birds, the trembling of leaves, and the droop-ing of boughs; in the green of the trees, the blue of the sea and the sky, the yellow of the sunset, and the red of the twilight. We see it also in the raging of storms and thunder and lightning, in the spread of the seas, the height of the mountains, the majesty of the forests, and the grandeur of caves and valleys. It then forms a kind of beauty we call the awe-inspir-ing, or the sublime, which stirs in man fear and dread alongside pleasure and approval.

As for the beauty of art, it is more varied than the beauty of nature. Of the fine arts I have mentioned six, from each of which branch different colors of beauty. Among them is the awe-inspiring kind, stirring dread, which we find in tragedy; and the kind stirring laughter and amusement, which we see in comedy, the "farce," burlesque, the anecdote, and caricature; the soft, affecting beauty of lyric poetry and of tender music; the rough beauty of martial music and of the poetry of boasting and satire; the firm, solid beauty that marks great buildings; the graceful, astonishing beauty of the movements of the dance; and the mysterious beauty we glimpse in certain literary arts and in symbolic drawings.

We may say that every work of art and every beautiful model is a composite image whose parts stand in harmony. This harmony is the source of rhythm in music, and of concord in the colors and lines of a picture, in the meanings and sounds of poetry, in the move-ments of the dance, the parts of a statue, and the chapters of a book.

All the kinds of accord and cohesion are what we call unity, and unity is the chief mark of beauty. It is a common error among some people to judge a beautiful person or a beautiful thing by considering its parts each

on its own; the right way is to look at the whole and pronounce judgment upon the whole, not the part. For instance, they look at the eyes by themselves, at the nose, at the mouth, at the neck — at each visible part separately — and do not observe whether the parts har-monize among themselves, whether the size of the head accords with the size of the body or conflicts with it, and whether the length of the leg is proportionate to the height of the figure. Another of their errors is that they look at the prominent part — that is, the face — and at nothing else, as

a short-sighted man looks at the façade of a building and neglects the remaining parts. The face has its importance in the body, but the shape of the head and its accord with the rest of the body is no less important; likewise the shape of the chest, the arms, and the legs, the height of the figure, and the proportion between the various sizes. Among the common errors in judging human beauty is the con-sidering of color to the exclusion of line, because color strikes the eye more than line — though a picture is always composed of lines and colors, and the painter's skill shows