pass, and you will see that almost all its leaves are of this character; and when they are otherwise the anomaly usually admits of an easy explanation. Of course the shapes of plants are mostly due to their normal and usual circumstances, and are comparatively little influenced by the accidental surroundings of individuals; and so, when a fern of such a sort happens to grow like this one on the open, it still retains the form impressed upon it by the life of its ancestors. Now, it is the striking combination of symmetry and variety in the fern, together with vivid green colouring, which makes us admire it so much. Not only is the frond as a whole symmetrical, but each frondlet and each division of the frondlet is separately symmetrical as well. This delicate minuteness of workmanship, as we call it, reminds us of similar human products--of fine lace, of delicate tracery, of skilful filagree or engraving. Almost all the green leaves which we admire are noticeable, more or less, for the same effects, as in the case of maple, parsley, horse-chestnut, and vine. It is true, mere glossy greenness may, and often does, make up for the want of variety, as we see in the arum, holly, laurel, and hart's-tongue fern; but the leaves which we admire most of all are those which, like maidenhair, are both exquisitely green and delicately designed in shape. So that, in the last resort, the beauty of leaves, like the beauty of coast scenery, is really due to the constant interaction of a vast number of natural laws, not to any distinct aesthetic intention on the part of Nature. On the other hand, the pretty pink squill reminds me that semi-conscious aesthetic design in animals has something to do with the production of beauty in nature--at least, in a few cases. Just as a flower garden has been intentionally produced by man, so flowers have been unconsciously produced by insects. As a rule, all bright red, blue, or orange in nature (except in the rare case of gems) is due to animal selection, either of flowers, fruits, or mates. Thus we may say that beauty in the inorganic world is always accidental; but in the organic world it is sometimes accidental and sometimes designed. A waterfall is a mere result of geological and geographical causes, but a bluebell or a butterfly is partly the result of a more or less deliberate æsthetic choice. LONDON: PRINTED BY SPOTTISWOODE AND CO., NEW-STREET SQUARE AND PARLIAMENT STREET _January, 1881._ [Illustration] CHATTO & WINDUS'S _LIST OF BOOKS._ Imperial 8vo, with 147 fine Engravings, half-morocco, 36_s._ THE EARLY TEUTONIC, ITALIAN, AND FRENCH MASTERS. Translated and Edited from the Dohme Series by A. H. KEANE, M.A.I. With numerous Illustrations. "_Cannot fail to be of the utmost use to students of art history._"--TIMES. Second Edition, Revised, Crown 8vo, 1,200 pages, half-roxburghe, 12_s._ 6_d._ THE READER'S HANDBOOK OF ALLUSIONS, REFERENCES, PLOTS, AND STORIES. By the Rev. Dr. BREWER.