ber for the middle of the under surface, getting his hint from the structure of the shin-bone. The first and last lesson of the useful arts is that Nature tyrannizes over our works. They must be conformed to her law, or they will be ground to powder by her omnipresent activity. Nothing droll, nothing whimsical will endure. Nature is ever interfering with Art. You cannot build your house or pagoda as you will, but as you must. There is a quick bound set to your caprice. The leaning tower can only lean so far. The verandah or pagoda roof can curve upward only to a certain point. The slope of your roof is determined by the weight of snow. It is only within narrow limits that the discretion of the architect may range: gravity, wind, sun, rain, the size of men and animals, and such like, have more to say than he. It is the law of fluids that prescribes the shape of the boat, — keel, rudder, and bows, and, in the finer fluid above, the form and tackle of the sails. Man seems to have no option about his tools, but merely the necessity to learn from Nature what will fit best, as if he were fitting a screw or a door. Beneath a necessity thus almighty, what is artificial in man's life seems insignificant. He seems to take his task so minutely from intimations of Nature, that his works become as it were hers, and he is no longer free. But if we work within this limit, she yields us all her strength. All powerful action is performed by bringing the forces of nature to bear upon our objects. We do not grind corn or lift the loom by our own strength, but we build a mill in such position as to set the north wind to play upon our instrument, or the elastic force of steam, or the ebb and flow of the sea. So in our handiwork, we do few things by muscular force, but we place ourselves in such attitudes as to bring the force of gravity, that is, the weight of the planet, to bear upon the spade or the axe we wield. In short, in all our operations we seek not to use our own, but to bring a quite infinite force to bear. Let us now consider this law as it affects the works that have beauty for their end, that is, the productions of the Fine Arts. Here again the prominent fact is subordination of man. His art is the least part of his work of art. A great deduction is to be made before we can know his proper contribution to it. Music, Eloquence, Poetry, Painting, Sculpture, Architecture. This is a rough enumeration of the Fine Arts. I omit Rhetoric, which only respects the form of eloquence and poetry. Architecture and eloquence are mixed arts, whose end is sometimes beauty and sometimes use. It will be seen that in each of these arts there is much which is not spiritual. Each has a material basis, and in each the creating intellect is crippled in some degree by the stuff on which it works. The basis of poetry is language, which is material only on one side. It is a demi-god. But being applied primarily to the common necessities of man, it is not new-created by the poet for his own ends. The basis of music is the qualities of the air and the vibrations of sonorous bodies. The pulsation of a stretched string or wire gives the ear the pleasure of sweet sound, before yet the musician has enhanced this pleasure by concords and combinations. Eloquence, as far as it is a fine art, is modified how much by the material organization of the orator, the tone of the voice, the physical strength, the play of the eye and countenance. All this is so much deduction from the purely spiritual pleasure, as so much deduction from the merit of Art, and is the attribute of Nature. In painting, bright colors stimulate the eye before yet they are harmonized into a landscape. In sculpture and in architecture the material, as marble or granite, and in architecture the mass, are sources of great pleasure quite independent of the artificial arrangement. The art resides in the model, in the plan; for it is on that the genius of the artist is expended, not on the statue or the tem ple. Just as much better as is the polished statue of dazzling marble than the clay model, or as much more impressive as is the granite cathedral or pyramid than the ground-plan or profile of them on paper, so much more beauty owe they to Nature than to Art. There is a still larger deduction to be made from the genius of the artist in favor of Nature than I have yet specified. A jumble of musical sounds on a viol or a flute, in which the rhythm of the tune is played without one of the notes being right, gives pleasure to the unskilful ear. A very coarse imitation of the human form on canvas, or in wax-work; a coarse sketch in colors of a landscape, in which imitation is all that is attempted, these things give to unpractised eyes, to the uncultured, who do not ask a fine spiritual delight, almost as much pleasure as a statue of Canova or a picture of Titian. And in the statue of Canova or the picture of Titian, these give the great part of the pleasure; they are the basis on which the fine spirit rears a higher delight, but to which these are indispensable. Another deduction from the genius of the artist is what is conventional in his art, of which there is much in every work of art. Thus how much is there that is not original in every particular build ing, in every statue, in every tune, painting, poem, or harangue! — whatever is national or usual; as the usage of building all Roman churches in the form of a cross, the prescribed distribution of parts of a theatre, the custom of draping a statue in classical costume. Yet who will deny that the merely conventional part of the performance contributes much to its effect? One consideration more exhausts I believe all the deductions from the genius of the artist in any given work. This is the adventitious. Thus the pleasure that a noble temple gives us is only in part owing to the temple. It is exalted by the beauty of sunlight, the play of the clouds, the landscape around it, its grouping with the houses, trees, and towers in its vicinity. The pleasure of eloquence is in greatest part owing often to the stimulus of the occasion which produces it, to the magic of sympathy, which exalts the feeling of each by radiating on him the feeling of all. - The effect of music belongs how much to the place, as the church, or the moonlight walk; or to the company; or, if on the stage, to what went before in the play, or to the expectation of what shall come after. In poetry, "It is tradition more than invention that helps the poet to a good fable." The adventitious beauty of poetry may be felt in the greater |