ART VERSUS NATURE
ful until our feeling, crystallized into thought and treat ment, raises it to art.
The grasses then being such a fragment must be made "art" before they can lose their character of "specimens." We must so treat them that they are changed to something emotional - our emotion.
In order to create emotion in that which is endowed with form we must make of that object a "unit." And a unit is something that has consistency, it is free from unreasoning contradictions; for instance, Fig. 2 is a mass of lines and movements so puzzling to the eye that it simply looks and is worried, it studies. In that condition the mind does not permit any emotion to arise. These lines and movements must be ordered, made intelligible, governed by reason, controlled by intellect, if they are to create emotion.
Let us take a single blade of grass; it will give prob lems difficult enough for the mind. It is as much "nature" as any other of the innumerable waving things that make up the meadow. We have drawn it as it was found in the field,-Fig. 3, where it was beautiful because it was part of the whole; here it is not beautiful in its detached form but it contains ele ments of beauty, and our art can realize them and thus insure a pleasurable emotion to the beholder. One reason why it is not beautiful here is that it contains a contradiction and the mind is worried, for the suggestion