show the high dignity of art and of aesthetics. The history of
philosophy presents us with many theories on the nature of the beautiful;
but as it would lead us too far to examine them all, we shall only
consider the most important among them. The coarsest of these theories
defines the beautiful as that which pleases the senses. This theory,
issuing from the philosophy of sensation of the school of Locke and
Condillac, only explains the idea and the feeling of the beautiful by
disfiguring it. It is entirely contradicted by facts. For it converts
it into desire, but desire is egotistical and insatiable, while
admiration is respectful, and is its own satisfaction without seeking
possession.

Others have thought the beautiful consists in proportion, and no
doubt this is one of the conditions of beauty, but only one. An
ill-proportioned object cannot be beautiful, but the exact correspondence
of parts, as in geometrical figures, does not constitute beauty.

A noted ancient theory makes beauty consist in the perfect suitableness
of means to their end. In this case the beautiful is not the useful, it
is the suitable; and the latter idea is more akin to that of beauty. But
it has not the true character of the beautiful. Again, order is a less
mathematical idea than proportion, but it does not explain what is free
and flowing in certain beauties.

The most plausible theory of beauty is that which makes it consist in two
contrary and equally necessary elements--unity and variety. A beautiful
flower has all the elements we have named; it has unity, symmetry, and
variety of shades of color. There is no beauty without life, and life is
movement, diversity. These elements are found in beautiful and also in
sublime objects. A beautiful object is complete, finished, limited with