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knows it can grasp and enjoy. They take all barrenness, all deadness from simple intellectual movement, breathe through it desire, cause it to draw back the curtain between us and the ideal world, and fire us with the zeal of pursuit.

While the specific character of esthetical emotions is very pronounced, their minor differences are very great. The same fruits have not all the same flavor. The most exquisite and characteristic tastes complete the circle, with an endless division and change of quality. In works of nature, plants, trees, landscapes, birds, beasts, men; in works of art, painting, statues, poems; in varied objects, and in their yet more varied combinations, we find a constant change of predominant qualities, endless degrees of power, and ever shifting methods of expression. Hence arises in esthetical sentiments every shade of form and force, from impressions scarcely perceptible to those which wholly occupy the soul overpowering emotions breaking out upon it like a flood. The flow of these enjoyments in the sensitive mind may be compared to the movement of music, now gay and cheerful, now common-place, now low and sad, now mysterious, now wild, now sublime, gliding from phase to phase of emotion with perfect ease and inexhaustible felicity. The scope, body, variety of feelings which are either in whole or in part of an esthetical character, are in sensitive, poetic temperaments very marked. A large share both of their gentler as well as more exalted pleasures springs from this source.

The form of action which these emotions prompt is manifest. They always afford a mild, often a powerful stimulus to painstaking, emulative and refined action. They promote the finish, the perfection, the beauty of every product of the hand or of the mind. They reveal themselves in the physical results of labor, and certainly not less in character. The restraints and checks of esthetic sentiments are