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and variety of the ends it meets, and the ease and accuracy with which these separate purposes are fulfilled. A little formal order imposed by mere utility, simple convenience in the classification of material, is not sufficient, or sufficiently significant to excite and to satisfy the taste. It is not till more feeling enters into our plan, more variety, skill and precision of adjustment, that the elements of beauty begin to be clearly revealed, and the mind takes an additional delight in the work aside from each and all of the ends subserved by it. Gardening, architecture, music, are the arts least imitative the arts in which the beauty present is most immediately the result of the combining power of the human mind. In each of these, mere order produces scarcely a sensible effect. It is not till the plan discovers high appreciation of the resources at the disposal of the artist, and great power and pleasure in combining and developing them not till the product becomes thoroughly emotional, and in its scope and variety betrays a mind and heart alike active, that it begins in turn to command our emotion, and impress us, as the case may be, with the grace, symmetry, harmony, force of the conception.

Here, then, beauty throws us into appreciative sympathy with the thoughts and feelings of a worker; of one who executes well and powerfully, and delights in such execution one with whom perfection is a thing esteemed, sought after, and includes far more than the immediate subordination of the means employed to a useful physical end. It is this effort of the mind, without neglecting utility, to lift each of its works out of the mere routine of labor, off from the simple plane of service into an emotional region, to make it in its excellence, in its skillful or affectionate or grand handling, a source of independent, superior, constant pleasure, that is the source of beauty, and of its command