"Rounded smoothly"--the wheel of Fortune revolving with it in unfelt swiftness; like the world, its story rising like the dawn, closing like the sunset, with its own sweet light for every hour. "Balanced symmetrically"--having its two sides clearly separate, its war of good and evil rightly divided. Its figures moving in majestic law of light and shade. "Handled handily"--so that, being careful and gentle, you can take easy grasp of it and all that it contains; a thing given into your hand henceforth to have and to hold. Comprehensible, not a mass that both your arms cannot get round; tenable, not a confused pebble heap of which you can only lift one pebble at a time. "Lipped softly"--full of kindness and comfort: the Keats line indeed the perpetual message of it--"For ever shalt thou love, and she be fair." All beautiful fiction is of the Madonna, whether the Virgin of Athens or of Judah--Pan-Athenaic always. And all foul fiction is _leze majeste_ to the Madonna and to womanhood. For indeed the great fiction of every human life is the shaping of its Love, with due prudence, due imagination, due persistence and perfection from the beginning of its story to the end; for every human soul, its Palladium. And it follows that all right imaginative work is beautiful, which is a practical and brief law concerning it. All frightful things are either foolish, or sick, visits of frenzy, or pollutions of plague. 102. Taking thus the Greek vase at its best time, for the symbol of fair fiction: of foul, you may find in the great entrance-room of the Louvre, filled with the luxurious _orfevrerie_ of the sixteenth century, types perfect and innumerable: Satyrs carved in serpentine, Gorgons platted in gold, Furies with eyes of ruby, Scyllas with scales of pearl; infinitely worthless toil, infinitely witless wickedness; pleasure satiated into idiocy, passion provoked into madness, no object of thought, or sight, or fancy, but horror, mutilation, distortion, corruption, agony of war, insolence of disgrace, and misery of Death. It is true that the ease with which a serpent, or something that will be understood for one, can be chased or wrought in metal, and the small workmanly skill required to image a satyr's hoof and horns, as compared to that needed for a human foot or forehead, have greatly influenced the choice of subject by incompetent smiths; and in like manner, the prevalence of such vicious or ugly story in the mass of modern literature is not so much a sign of the lasciviousness of the age, as of its stupidity, though each react on the other, and the vapor of the sulphurous pool becomes at last so diffused in the atmosphere of our cities, that whom it cannot corrupt, it will at least stultify.