brushing away the dews by the fountains of perpetual youth. I am aware
of no extant English work on Greek Lines which does not aim to reduce
that magnificent old Hellenic poetry to the cold, hard limitations of
Geometry. Modern Pharisees nail that antique Ideal of loveliness and
purity to a mathematical cross.

Now it is capable of distinct proof, that abstract Lines of Beauty, even
in a greater degree than any other expressions of Art, are born and
baptized in Love. Because parabolic curves frequently _coincide_ with
these lines, it is no proof that they _created_ them.

The Water-Lily, or Lotus, perpetually occurs in Oriental mythology as
the sublime and hallowed symbol of the productive power in Nature,--the
emblem of that great life-giving principle which the Hindu and the
Egyptian and all early nations instinctively elevated to the highest and
most cherished place in their Pantheons. Payne Knight, quoted in Mr.
Squier's work on the "Antiquities of America," ingeniously attributes
the adoption of this symbol to the fact, that the Lotus, instead
of rejecting its seeds from the vessels where they are germinated,
nourishes them in its bosom till they have become perfect plants, when,
arrayed in all the irresistible panoply of grace and beauty, they spring
forth, Minerva-like, float down the current, and take root wherever
deposited. And so it was used by nearly all the early peoples to express
the creative spirit which gives life and vegetation to matter. Lacshmi,
the beautiful Hindu goddess of abundance, corresponding to the Venus
Aphrodite of the Greeks, was called "the Lotus-born," as having
ascended from the ocean in this flower. Here, again, is the inevitable
intermingling of the eternal principles of Beauty, Love, and the
Creative Power in that pure triune medallion image which the ancients so
tenderly cherished and so exquisitely worshipped with vestal fires and