edifices, as they engage national affection or vanity; no single city can now take such queenly lead as that the pride of the whole body of the people shall be involved in adorning her; the buildings of London or Munich are not charged with the fullness of the national heart as were the domes of Pisa and Florence:their credit or shame is metropolitan, not acropolitan; central at the best, not dominant; and this is one of the chief modes in which the cessation of superstition, so far as it has taken place, has been of evil consequence to art, that the observance of local sanctities being abolished, meanness and mistake are anywhere allowed of, and the thoughts and wealth which were devoted and expended to good purpose in one place, are now distracted and scattered to utter unavailableness. In proportion to the increasing spirituality of religion, the conception of worthiness in material offering ceases, and with it the sense of beauty in the evidence of votive labour; machine-work is substituted for handwork, as if the value of ornament consisted in the mere multiplication of agreeable forms, instead of in the evidence of human. care and thought and love about the separate stones; andmachine-work once tolerated-the eye itself soon loses its sense of this very evidence, and no more perceives the difference between the blind accuracy of the engine, and the bright, strange, play of the living stroke-a difference as great as between the form of a stone pillar and a springing fountain. And on this blindness follow all errors and abuses-hollowness and slightness of frame-work, speciousness of surface ornament, concealed structure, imitated materials, and types of form borrowed from things noble for things base; and all these abuses must be resisted with the more caution, and less success, because in many ways they are signs or consequences of improvement, and are associated both with purer forms of religious feeling and with more general diffusion of refinements and comforts; and especially because we are critically aware of all our deficiencies, too cognizant of all that is greatest to pass willingly and humbly through the stages that rise to it, and oppressed in every honest effort by the bitter sense of inferiority. In every previous development the power has been in advance of the consciousness, the resources more abundant than the knowledge-the energy irresistible, the discipline imperfect. The light that led was narrow and dim-streakings of dawn-but it fell with kindly gentleness on eyes newly awakened out of sleep. But we are now aroused suddenly in the light of an intolerable day-our limbs fail under the sun-stroke-we are walled in by the great buildings of elder times, and their fierce reverberation falls upon us without pause, in our feverish and oppressive consciousness of captivity; B 2 captivity; we are laid bedridden at the Beautiful Gate, and all our hope must rest in acceptance of the such as I have,' of the passers by. The frequent and firm, yet modest expression of this hope, gives peculiar value to Lord Lindsay's book on Christian Art; for it is seldom that a grasp of antiquity so comprehensive, and a regard for it so affectionate, have consisted with aught but gloomy foreboding with respect to our own times. As a contribution to the History of Art, his work is unquestionably the most valuable which has yet appeared in England. His research has been unwearied; he has availed himself of the best results of German investigation-his own acuteness of discernment in cases of approximating or derivative style is considerable-and he has set before the English reader an outline of the relations of the primitive schools of Sacred art which we think so thoroughly verified in all its more important ramifications, that, with whatever richness of detail the labour of succeeding writers may illustrate them, the leading lines of Lord Lindsay's chart will always henceforth be followed. The feeling which pervades the whole book is chastened, serious, and full of reverence for the strength ordained out of the lips of infant Art-accepting on its own terms its simplest teaching, sympathizing with all kindness in its unreasoning faith; the writer evidently looking back with most joy and thankfulness to hours passed in gazing upon the faded and faint touches of feeble hands, and listening through the stillness of uninvaded cloisters for fall of voices now almost spent ; yet he is never contracted into the bigot, nor inflamed into the enthusiast; he never loses his memory of the outside world, never quits nor compromises his severe and reflective Protestantism, never gives ground of offence by despite or forgetfulness of any order of merit or period of effort. And the tone of his address to our present schools is therefore neither scornful nor peremptory; his hope, consisting with full apprehension of all that we have lost, is based on a strict and stern estimate of our power, position, and resource, compelling the assent even of the least sanguine to his expectancy of the revelation of a new world of Spiritual Beauty, of which whosoever 'will dedicate his talents, as the bondsman of love, to his Redeemer's glory and the good of mankind, may become the priest and interpreter, by adopting in the first instance, and re-issuing with that outward investiture which the assiduous study of all that is beautiful, either in Grecian sculpture, or the later but less spiritual schools of painting, has enabled him to supply, such of its bright ideas as he finds imprisoned in the early and imperfect efforts of art-and secondly, by exploring further on his own account in the untrodden realms of feeling that lie before before him, and calling into palpable existence visions as bright, as pure, and as immortal as those that have already, in the golden days of Raphael and Perugino, obeyed their creative mandate, Live!'-vol. iii. p. 422. But while we thus defer to the discrimination, respect the feeling, and join in the hope of the author, we earnestly deprecate the frequent assertion, as we entirely deny the accuracy or propriety, of the metaphysical analogies, in accordance with which his work has unhappily been arranged. Though these had been as carefully, as they are crudely, considered, it had still been no light error of judgment to thrust them with dogmatism so abrupt into the forefront of a work whose purpose is assuredly as much to win to the truth as to demonstrate it. The writer has apparently forgotten that of the men to whom he must primarily look for the working out of his anticipations, the most part are of limited knowledge and inveterate habit, men dexterous in practice, idle in thought; many of them compelled by ill-ordered patronage into directions of exertion at variance with their own best impulses, and regarding their art only as a means of life; all of them conscious of practical difficulties which the critic is too apt to underestimate, and probably remembering disappointments of early effort rude enough to chill the most earnest heart. The shallow amateurship of the circle of their patrons early disgusts them with theories; they shrink back to the hard teaching of their own industry, and would rather read the book which facilitated their methods, than the one that rationalized their aims. Noble exceptions there are, and more than might be deemed; but the labour spent in contest with executive difficulties renders even these better men unapt receivers of a system which looks with little respect on such achievement, and shrewd discerners of the parts of such system which have been feebly rooted, or fancifully reared. Their attention should have been attracted both by clearness and kindness of promise; their impatience prevented by close reasoning and severe proof of every statement which might seem transcendental. Altogether void of such consideration or care, Lord Lindsay never even so much as states the meaning or purpose of his appeal, but, clasping his hands desperately over his head, disappears on the instant in an abyss of curious and unsupported assertions of the philosophy of human nature: reappearing only, like a breathless diver, in the third page, to deprecate the surprise of the reader whom he has never addressed, at a conviction which he has never stated; and again vanishing ere we can well look him in the face, among the frankincensed clouds of Christian mythology: filling the greater part of his first volume with a resumé of its symbols and traditions, yet never vouchsafing the slightest hint of the objects for for which they are assembled, or the amount of credence with which he would have them regarded; and so proceeds to the historical portion of the book, leaving the whole theory which is its key to be painfully gathered from scattered passages, and in great part from the mere form of enumeration adopted in the preliminary chart of the schools; and giving as yet, account only of that period to which the mere artist looks with least interestwhile the work, even when completed, will be nothing more than a single pinnacle of the historical edifice whose ground-plan is laid in the preceding essay, Progression by Antagonism :'-a plan, by the author's confession, too extensive for his own, or any single hand to execute,' yet without the understanding of whose main relations it is impossible to receive the intended teaching of the completed portion. It is generally easier to plan what is beyond the reach of others than to execute what is within our own; and it had been well if the range of this introductory essay had been something less extensive, and its reasoning more careful. Its search after truth is honest and impetuous, and its results would have appeared as interesting as they are indeed valuable, had they but been arranged with ordinary perspicuity, and represented in simple terms. But the writer's evil genius pursues him; the demand for exertion of thought is remorseless, and continuous throughout, and the statements of theoretical principle as short, scattered, and obscure, as they are bold. We question whether many readers may not be utterly appalled by the aspect of an Analysis of Human Nature-the first task proposed to them by our intellectual Eurystheus-to be accomplished in the space of six semipages, followed in the seventh by the Development of the Individual Man,' and applied in the eighth to a General Classification of Individuals;' and we infinitely marvel that our author should have thought it unnecessary to support or explain a division of the mental attributes on which the treatment of his entire subject afterwards depends, and whose terms are repeated in every following page to the very dazzling of eye and deadening of ear (a division, we regret to say, as illogical as it is purposeless), otherwise than by a laconic reference to the assumptions of Phrenology. 'The Individual Man, or Man considered by himself as an unit in creation, is compounded of three distinct primary elements, 1. Sense, or the animal frame, with its passions or affections; 2. Mind or Intellect;-of which the distinguishing faculties-rarely, if ever, equally balanced, and by their respective predominance determinative of his whole character, conduct, and views of life are, i. Imagination, i. Imagination, the discerner of Beauty,- the former animating and informing the world of Sense or Matter, the latter finding her proper home in the world of abstract or immaterial existences the former receiving the impress of things Objectively, or ab externo, the latter impressing its own ideas on them Subjectively, or ab interno-the former a feminine or passive, the latter a masculine or active principle; and iii. Spirit-the Moral or Immortal principle, ruling through the Will, and breathed into Man by the Breath of God.'-Progression by Antagonism, pp. 2, 3. On what authority does the writer assume that the moral is alone the Immortal principle-or the only part of the human nature bestowed by the breath of God? Are imagination, then, and reason perishable? Is the Body itself? Are not all alike immortal, and when distinction is to be made among them, is not the first great division between their active and passive immortality, between the supported body and supporting spirit; that spirit itself afterwards rather conveniently to be considered as either exercising intellectual function, or receiving moral influence, and, both in power and passiveness, deriving its energy and sensibility alike from the sustaining breath of God-than actually divided into intellectual and moral parts? For if the distinction between us and the brute be the test of the nature of the living soul by that breath conferred, it is assuredly to be found as much in the imagination as in the moral principle. There is but one of the moral sentiments enumerated by Lord Lindsay the sign of which is absent in the animal creation:-the enumeration is a bald one, but let it serve the turn-Self-esteem and love of Approbation,' eminent in horse and dog; 'Firmness,' not wanting either to ant or elephant; Veneration,' distinct as far as the superiority of man can by brutal intellect be comprehended; Hope,' developed as far as its objects can be made visible; and Benevolence,' or Love, the highest of all, the most assured of all-together with all the modifications of opposite feeling, rage, jealousy, habitual malice, even love of mischief and comprehension of jest:-the one only moral sentiment wanting being that of responsibility to an Invisible being, or conscientiousness. But where, among brutes, shall we find the slightest trace of the Imaginative faculty, or of that discernment of beauty which our author most inaccurately confounds with it, or of the discipline of memory, grasping this or that circumstance at will, or of the still nobler foresight of, and respect towards, things future, except only instinctive and compelled? The fact is, that it is not in intellect added to the bodily sense, nor in moral sentiment superadded |