The calabash will only be introduced here to show that we should mistrust the idea that all was made for man. There are people who pretend that the turf is only green to refresh the sight. It would appear, however, that it is rather made for the animals who nibble it than for man, to whom dog-grass and trefoil are useless. If nature has produced the trees in favor of some species, it is difficult to say to which she has given the preference. Leaves, and even bark, nourish a prodigious multitude of insects: birds eat their fruits, and inhabit their branches, in which they build their industriously formed nests, while the flocks repose under their shades. The author of the "_Spectacle de la Nature_" pretends that the sea has a flux and reflux, only to facilitate the going out and coming in of our vessels. It appears that even Matthew Garo reasoned better; the Mediterranean, on which so many vessels sail, and which only has a tide in three or four places, destroys the opinion of this philosopher. Let us enjoy what we have, without believing ourselves the centre and object of all things. GRACE. In persons and works, grace signifies, not only that which is pleasing, but that which is attractive; so that the ancients imagined that the goddess of beauty ought never to appear without the graces. Beauty never displeases, but it may be deprived of this secret charm, which invites us to regard it, and sentimentally attracts and fills the soul. Grace in figure, carriage, action, discourse, depends on its attractive merit. A beautiful woman will have no grace, if her mouth be shut without a smile, and if her eyes display no sweetness. The serious is not always graceful, because unattractive, and approaching too near to the severe, which repels. A well-made man whose carriage is timid or constrained, gait precipitate or heavy, and gestures awkward, has no gracefulness, because he has nothing gentle or attractive in his exterior. The voice of an orator which wants flexibility or softness is without grace. It is the same in all the arts. Proportion and beauty may not be graceful. It cannot be said that the pyramids of Egypt are graceful; it cannot be said that the Colossus of Rhodes is as much so as the Venus of Cnidus. All that is merely strong and vigorous exhibits not the charm of grace. It would show but small acquaintance with Michelangelo and Caravaggio to attribute to them the grace of Albano. The sixth book of the "Æneid" is sublime; the fourth has more grace. Some of the gallant odes of Horace breathe gracefulness, as some of his epistles cultivate reason. It seems, in general, that the little and pretty of all kinds are more susceptible of grace than the large. A funeral oration, a tragedy, or a sermon, are badly praised, if they are only honored with the epithet of graceful.