224 PHYSIOLOGICAL ÆSTHETICS. lean, harsh, and angular limbs or features, constrained and graceless clothing, awkward postures and actions; heavy, ungainly, or shapeless animal forms, such as the bear, the cart-horse, the goose, and the slug ; flat and monotonous plains ; the still ocean unbroken by a winding shore or bluff headland, unrelieved by a ship with bellied sails or a tempest curling the breakers on the beach ; straight streets, plain rectangular houses, square windows, and flat façades destitute of arch or column, dome or portico. As to colour, we demand sufficient stimulation blended with due relief ; warm reds and oranges, not too strong, too massive, or too prominent ; delicate toning and harmony ; together with variety and fit¬ ness for the objects delineated. The drapery of historical paintings is selected with an eye to mixed effectiveness and harmony of hues ; sacred subjects, oriental pieces, and scenes of the XYIth, XVIIth, and XVIIIth centuries admit of gayer colouring as well as more graceful shapes than the ordinary incidents of modern life ; and amongst the latter, such are generally chosen as will give an opportunity for the introduction of bright female costumes, or else of court and military uniforms, while the present sombre and inartistic dress of men in every-day life almost defies pictorial repre¬ sentation. Landscape of course presents us with all the hues of natural scenery which it would be tedious again to par¬ ticularize. The choice of “ bits ” is one of the greatest tests of an artist’s natural taste. Autumn and sunset are the chosen seasons of the painter as well as the poet. Reds are far more common in art than in nature, and bright colours are lavished in considerable profusion. In short, all those