a pure intelligence can grasp. This it is which gives body, a structure so to speak, to the iridescent appearances which flatter our senses, and without this support the beauty of these fugitive dreams would be only imperfect, because it would be vague and always fleeting. On the contrary, intellectual beauty is sufficient unto itself, and it is for its sake, more perhaps than for the future good of humanity, that the scientist devotes himself to long and difficult labors.
It is, therefore, the quest of this especial beauty, the sense of the harmony of the cosmos, which makes us choose the facts most fitting to contribute to this harmony, just as the artist chooses from among the features of his model those which perfect the picture and give it character and life. And we need not fear that this instinctive and unavowed prepossession will turn the scientist aside from the search for the true. One may dream a harmonious world, but how far the real world will leave it behind! The greatest artists that ever lived, the Greeks, made their heavens; how shabby it is beside the true heavens, ours!
And it is because simplicity, because grandeur, is beautiful, that we preferably seek simple facts, sublime facts, that we delight now to follow the majestic course of the stars, now to examine with the microscope that prodigious littleness which is also a grandeur, now to seek in geologic time the traces of a past which attracts because it is far away.
We see too that the longing for the beautiful leads us to the same choice as the longing for the useful. And so it is that this economy of thought, this economy of effort, which is, according to Mach, the constant tendency of science, is at the same time a source of beauty and a practical advantage. The edifices that we admire are those where the architect has known how to proportion the means to the end, where