When we pass from the general colouring of nature to that of particular objects, we are again wrapt in wonder and admiration by the beauty and harmony which so constantly, and in such infinite variety, present themselves to our view, and which are so often found combined in the most minute objects. And the systematic order and uniformity perceptible amidst this endless variety in the colouring of animate and inanimate nature is thus another characteristic of beauty equally prevalent throughout creation. By this uniformity in colour, various species of animals are often distinguished; and in each individual of most of these species, how much is this beauty enhanced when the uniformity prevails in the resemblance of their lateral halves! The human countenance exemplifies this in a striking manner; the slightest variety of colour between one and another of the double parts is at once destructive of its symmetrical beauty. Many of the lower animals, whether inhabitants of the earth, the air, or the water, owe much of their beauty to this kind of uniformity in the colour of the furs, feathers, scales, or shells, with which they are clothed. In the vegetable kingdom, we find a great degree of uniformity of colour in the leaves, flowers, and fruit of the same plant, combined with all the harmonious beauty of variety which a little careful examination develops. In the colours of minerals, too, the same may be observed. In short, in the beauty of colouring, as in every other species of beauty, uniformity and variety are found to combine. An appreciation of colour depends, in the first place, as much upon the physical powers of the eye in conveying a proper impression to the mind, as that of music on those of the ear. But an ear for music, or an eye for colour, are, in so far as beauty is concerned, erroneous expressions; because they are merely applicable to the impression made upon the senses, and do not refer to the æsthetical principles of harmony, by which beauty can alone be understood. A good eye, combined with experience, may enable us to form a correct idea as to the purity of an individual colour, or of the relative difference existing between two separate hues; but this sort of discrimination does not constitute that kind of appreciation of the harmony of colour by which we admire and enjoy its development in nature and art. The power of perceiving and appreciating beauty of any kind, is a principle inherent in the human mind, which may be improved by cultivation in the degree of the perfection of the art senses. Great pains have been bestowed on the education of the ear, in assisting it to appreciate the melody and harmony of sound; but still much remains to be done in regard to the cultivation of the eye, in appreciating colour as well as form.