Bauhaus-Universität Weimar

side. Variety is given ns in all the prospect. Flat and 
monotonous fields fatigue us. The desert, with its hot level 
expanse of grey sand, sweltering and blinking in the full 
glare of a tropical sun, is our ideal of utter dullness.* The 
unbroken green of western prairies is scarcely less tiring. 
The sea without a sail, as seen from mid-ocean, is miserably 
dull : a whale, a porpoise, or even a good foaming gale, is 
hailed as a grateful variety. When in search of æsthetic 
pleasure, we seek the interchange of hill and dale, river and 
waterfall, castle and abbey, green valley and ice-clad height. 
We climb downs for the extended view, spend our holiday at 
the sea-side for the sake of cliffs and water, or ransack Iceland, 
Ceylon, and Colorado in search of picturesque novelty in 
geyser and volcano, palm and tree-fern, canon and lava-plain. 
Symmetry alone we reject, because we have learnt to asso¬ 
ciate that with the puny works of man, or when we find it in 
the outer world to expect it only in detail. Our notions of 
sublimity require that in her grandest achievements Nature 
should not be tied down to rule and plummet. 
The same considerations apply to dress, textile fabrics, 
pottery, and other human products ; but here, on the con¬ 
trary, symmetry is imperatively demanded. Vases have 
usually beauty of curved form, applicability to their special 
function, colour either in a single delicate retiring shade, or 
else in harmonious combination, and symmetrical arrange¬ 
ment of parts. The loveliest fictile objects give us a double 
I am reminded by a friend that painters are rather fond of a caravan in 
the desert. That is true, because the monotonous sky-line brings out the 
camels in strong statuesque relief. But nobody ever dreamt of painting the 
desert without the camels.


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