Try this also for yourselves as before. Nor need we confine our experiments to figures comparatively at rest: forms in every variety of action come under the same rule—it is a law of nature. There is a central line drawn through the whole system of the universe, through every tree, and plant, and stone, and every upright thing, could we but see it.
The first of the following figures is in full action, but it may go on for ever, as its balance is not in any way disturbed. The second is fast hastening to its fall. The third is much nearer still to that consummation.
It will suggest itself to every reader to apply the rule to other objects than the human figure. Trees in the positions of Figs. 64 and 65 are never seen unless through some violent accident; they may bend, and twist, and meander, but taking the objects as a whole, a central line, vertical to the horizon, will be detected, as shown in Fig. 65.
If we turn our attention in any direction upon natural objects, the clouds, the earth, the sea, flowers, trees, or animal bodies, we cannot fail to see that a curved line is always to be made out in their forms. Indeed, just so far as they are graceful and pleasing objects to the eye, this curved line is distinguishable. On the contrary, square lines offend the eye when met with under such circumstances. It is almost impossible indeed to imagine a square cloud, a square flower, or a square horse. When we see a square headed man, we are not impressed in his favor. We may have met with representations of natural objects, such as rocks, hill tops, mountain precipices, and the like, which had a square or nearly square appearance; but such things are almost always presented to our view as phenomena—i. e. things violating the regular order or general rule of nature. This curved line, which is the line of beauty, must pervade all nature; it is the natural law; and we cannot sufficiently admire the truth that that which is most necessary is also most beautiful.
Does any one ask what particular reference these observations have to "Art in Sport?" Let us say that they alone can properly understand what is comic who have learned to appreciate what is not comic. The distance between the sublime and the ridiculous is said to be very small—only one step. At any rate, the student who best understands the first will best appreciate the second. Socrates did not disdain to write an essay upon this subject, insisting that the very same qualities were essential in the comic and the tragic artist. But this is digressive.