The beauty of movement is an idea that satisfies the two conditions contained in the myth which now occupies us. In the first place, it is an objective beauty, not entirely depending upon the impression that we receive from the object, but belonging to the object itself. In the second place, this beauty has in itself something accidental, and the object remains identical even when we conceive it to be deprived of this property. The girdle of attractions does not lose its magic virtue in passing to an object of less beauty, or even to that which is without beauty; that is to say, that a being less beautiful, or even one which is not beautiful, may also lay claim to the beauty of movement. The myth tells us that grace is something accidental in the subject in which we suppose it to be. It follows that we can attribute this property only to accidental movements. In an ideal of beauty the necessary movements must be beautiful, because inasmuch as necessary they form an integral part of its nature; the idea of Venus once given, the idea of this beauty of necessary movements is that implicitly comprised in it; but it is not the same with the beauty of accidental movements; this is an extension of the former; there can be a grace in the voice, there is none in respiration. But all this beauty in accidental movements--is it necessarily grace? It is scarcely necessary to notice that the Greek fable attributes grace exclusively to humanity. It goes still further, for even the beauty of form it restricts within the limits of the human species, in which, as we know, the Greeks included also their gods. But if grace is the exclusive privilege of the human form, none of the movements which are common to man with the rest of nature can evidently pretend to it. Thus, for example, if it were admitted that the ringlets of hair on a beautiful head undulate with grace, there would also be no reason to deny a grace of movement to the branches of trees, to the waves of the stream, to the ears of a field of corn, or to the limbs of animals. No, the goddess of Cnidus represents exclusively the human species; therefore, as soon as you see only a physical creature in man, a purely sensuous object, she is no longer concerned with him. Thus, grace can only be met with in voluntary movements, and then in those only which express some sentiment of the moral order. Those which have as principle only animal sensuousness belong only, however voluntary we may suppose them to be, to physical nature, which never reaches of itself to grace. If it were possible to have grace in the manifestations of the physical appetites and instincts, grace would no longer be either capable or worthy to serve as the expression of humanity. Yet it is humanity alone which to the Greek contains all the idea of beauty and of perfection. He never consents to see separated from the soul the purely sensuous part, and such is with him that which might be called man's sensuous nature, which