thought and study. His lines were _creations_, and not _instincts_ or
_imitations_. They came from the depth of his Love, and it was his
religion so to nurture and educate his sensitiveness to Beauty and his
power to love and create it, that his works of Art should be deeds of
passionate worship and expressions of a godlike humanity. Unlike the
Egyptian's, there was nothing in _his_ creed to check the sweet excess
of Life, and no grim shadow, "feared of man," scared him in his walks,
or preached to him sermons of mortality in the stones and violets of the
wayside. Life was hallowed and dear to him for its own sake. He saw
it was lovable, and he made it the theme of his noblest poems, his
subtilest philosophies, and his highest Art. Hence the infinite joy and
endless laughter on Olympus, the day-long feasting, _the silver stir of
strings_ in the hollow shell of the exquisite Phoebus, "the soft song of
the Muse with voices sweetly replying."

I believe that all true Lines of Grace and Beauty, in their highest,
_intellectual, human_ significance, may be concentrated and expressed in
one; not a _precise_ and _exact_ line, like a formula of mathematics,
to which the neophyte can refer for deductions of Grace to suit any
premises or conditions. This, of course, is contrary to the spirit
of beautiful design; and the ingenious Hay,--who maintains that his
"composite ellipse" is capable of universal application in the arts
of ornamental composition, and that by its use any desirable lines in
mouldings or vases can be mechanically produced, especially Greek lines,
falls into the grave error of endeavoring to materialize and fix that
_animula vagula, blandula_, that coy and evasive spirit of Art, which
is its peculiar characteristic, and gives to its works inspiration,
harmony, and poetic sentiment. Ideal Beauty can be hatched from no
geometrical eggs. But the line which I refer to, as the expression of
most subtile Grace, pretends to be merely a type of that large language