directs the circumstance, and mode of meeting it. If you ask an ordinary
botanist the reason of the form of the leaf, he will tell you that it is
a "developed tubercle," and that its ultimate form "is owing to the
directions of its vascular threads." But what directs its vascular
threads? "They are seeking for something they want," he will probably
answer. What made them want that? What made them seek for it thus?
Seek for it, in five fibres or in three? Seek for it, in serration, or
in sweeping curves? Seek for it, in servile tendrils, or impetuous
spray? Seek for it, in woolen wrinkles rough with stings, or in glossy
surfaces, green with pure strength, and winterless delight?

89. There is no answer. But the sum of all is, that over the entire
surface of the earth, and its waters, as influenced by the power of the
air under solar light, there is developed a series of changing forms, in
clouds, plants, and animals, all of which have reference in their action,
or nature, to the human intelligence that perceives them; and on which,
in their aspects of horror and beauty, and their qualities of good and
evil, there is engraved a series of myths, or words of the forming power,
which, according to the true passion and energy of the human race, they
have been enabled to read into religion. And this forming power has been
by all nations partly confused with the breath or air through which it
acts, and partly understood as a creative wisdom, proceeding from the
Supreme Deity; but entering into and inspiring all intelligences that
work in harmony with Him. And whatever intellectual results may be in
modern days obtained by regarding this effluence only as a motion of
vibration, every formative human art hitherto, and the best states of
human happiness and order, may have depended on the apprehension of its
mystery (which is certain,) and of its personality, which is probable.

90. Of its influence on the formative arts, I have a few words to say