becomes, when thus broken, an unmeaning appendage. Such admiration as this, of the Gothic architecture, is very much akin to that of the good old lady who was so much moved by the peculiar eloquence of the word Mesopotamia. Mesopotamia was a good old word, it belonged to the time of the patriarchs, and being delivered moreover in a truly unctuous tone, it imparted a savour to the whole sermon into which it entered.

As the Tractarians rest much in outward forms, which are no necessary or rational part of a spiritual system of religion, and which, being perfectly arbitrary and conventional, cannot but hinder the mind in its progress towards the perception of any great central truth; so, in art, the same disposition is manifested to divorce the form from the substance, the body from the spirit which animates it; and then, when the whole has been disintegrated, to assign a superstitious value to each separate part. Each doorway must be made to hint darkly at some mystery, the storied windows must deliver up their venerable traditions, and the shafts and arches, the pulpit, the altar and the font, the quaint carvings and mystical devices, must all be arranged in accordance with some dream or vision. As the religion of such men must be, in a good degree, made up of outward institutions and rites, which, having lost their only rational meaning through their disconnection from the inner truth of the system to which they belong, have a superstitious efficacy attributed to them, so their architecture is an assemblage of parts that having no inward principle of unity can only exist through some mystical meaning attached to them. Their art is no living reality, but an assemblage of holy relics.

For the same reason that we should be unwilling that any man should judge of religion by the form which it assumes in the teachings and practice of the Oxford Tractarians, we would desire also, to see the noble art of architecture rescued from their hands. Architecture, properly understood, is undoubtedy as Coleridge pronounced it, the most difficult of the fine arts, "it involves all the powers of design, and is sculpture and painting inclusively; it shows the greatness of man, and should at the same time teach him humility." It exhibits the greatest difference from nature, that can exist in works of art, and requires therefore, thoughtful, and earnest study for the discovery and appreciation of its principles. To build a convenient and ornate

edifice, whether for domestic or religious purposes is an easy matter; but to dispose building materials in such forms as shall be expressive of intellectual purposes and sentiments, this is a task that demands, for its adequate discharge, other attainments than technical rules, old traditions and the narrow dogmas of a sect. The living and life producing ideas of this art are to be acqured only through "the perception of those relations which alone are beautiful and eternal, whose prime concords can be proved, but whose deeper mysteries can only be felt."*

The Gothic architecture is one of the most wonderful creations of the human mind. The more we study it, the more are we lost in admiration at the skill which has succeeded in employing such an endless multiplicity of details as enter into a Gothic structure, without sacrificing the essential unity of the whole. The idea which evolved it, seems to luxuriate in the greatest abundance of forms, all of which are animated and all in the same spirit. It is of course symbolical, as all true art must be. Any object which does not irresistibly lead the mind beyond itself, and inspire a feeling due not to the qualities of the object but to something far greater and better that is suggested by it, is no work of art. But the symbolism of Gothic architecture, as of all characteristic art, is dependent upon no accidental associations, or conventional appointments. It is not the work of a man, who, having agreed with his fellows, that certain signs shall represent certain objects or qualities, proceeds to use the power with which they have endowed him; but of one who having worshipped beside the fountain of primal beauty has drunk in those essential principles of harmony which must speak to the hearts of all men. The forms that enter into a Gothic cathedral are a figured language, but it is a universal language.

How preposterous then, to mix up with this natural symbolism, deriving its efficacy from that which is true as the human mind and permanent as the race, the purely technical symbolism of any particular creed or age! How absurd to break in upon the harmony that assimilating to itself the voice of each of its manifold parts, pours forth its choral symphonies from the whole, with the crotchets of a school or sect. The "mystic devices," for which Mr. Barr pleads, the sacred monogram, the vesica piscis, and other

Goethe's Works. Vol. xxxix. p. 339,

technical inventions, what have these to do in conjunction with those harmonious forms, and relations, that, partaking of the very essence of beauty, are endowed with natural and indefeasible power to awe, to subdue, to exalt, to refine the human mind.

It may easily be gathered from what we have already said, that we dissent utterly from the sentiment often expressed, that the Gothic architecture is a development of Papal Christianity. It is indeed a religious architecture, as every other true style has been; it is, in some sense, a Christian architecture, but further to limit its generality is to despoil it of its glory and power. Doubtless an architecture might be devised which would be an appropriate symbol of Romanism. So also we might construct a style which would fitly represent the Protestant Episcopal Church, as its doctrines and practises are expounded by the Oxford Tractarians; but it would be widely different from the Gothic. It would be a style which, acknowledging no infallible standards, except as they are interpreted by tradition, would copy "old buildings" without daring to aspire even so high as imitation. It would of course fix attention upon external forms, rather than upon the thought within. Hence also it would limit its views of mental expression to the ideas of power and grandeur through which the mind. might be overa wed and reduced to an unreasoning submission. It would discourage the robust and manly exercise of the human intellect, and would care little therefore for strict unity and severe harmony, if it might so manage the details as to produce an extemporaneous impression upon the beholder, sufficiently powerful to compel him to yield a slavish obedience to authority. The deeper mysteries of art which are to be felt only by those who have understood its "prime concords," would be altogether beyond its reach. But we feel little interest in tracing out minutely the idea of an Episcopal art. It will be exhibited in its concrete form whenever the teachings of such architects as Mr. Barr shall have been carried thoroughly into practice.

ART. VII.-The Duties of Educated Men; an Oration before the Literary Societies of Dickinson College, Carlisle, Pa., July, 1843. By George W. Bethune, Minister of the Third Reformed Dutch Church, Philadelphia. Philadelphia: 1843. 8vo. pp. 40.

ORATIONS at college Commencements are becoming numerous enough to fill several volumes a year. Though a common, we do not consider it an easy sort of composition. Dr. Bethune's is one of the most agreeable of its kind. The lessons enjoined are uniformly good. Some of them are very adroitly communicated, and very wisely supported, by authorities which have great weight with divers among us who are afraid of being learned over much. Like everything of the author's, the discourse is easy and graceful. In an academical exercise such as this, we can endure an amount of citation, and even a sprinkling of Latin and Greek, which we confess we could willingly forego in a discourse ad populum.

1. Manual of Classical Literature. From the German of J. J. Eschenberg, Professor in the Carolinum at Brunswick. With additions, etc., etc. By N. W. Fiske, Professor in Amherst College. Fourth edition..... Sixth Thousand. Philadelphia: Edward C. Biddle. 1843. Svo. pp. 690.

2. Supplemental Plates to the Manual of Classical Literature. By N. W. Fiske, Professor in Amherst College. Philadelphia: Edward C. Biddle. 1843.

We do not pretend to have read the whole of this large work; and it would require one to have used it in instruction, to be qualified to give a proper judgment of its merits. We have, however, examined it with some care, at several times, and upon different subjects; and we feel justified in recommending it with some emphasis. It appears to contain all that is in the treatises formerly put into the hands of students, such as Adam, Tooke and Kennet, with a vast collection of facts on kindred subjects, never before brought together in one volume. It purports to be a cyclopedia, of all the apparatus needed by the classical student; treating of Geography, Chronology, Mythology, Greek and Roman Antiquities, the Archæology of Greek and Roman literature, and art, and the History of Greek and Roman Literature. Both teacher and learner here find a suitable

introduction to the reading of the classics, and an invaluable aid while engaged in reading them. The archæology of literature and art is presented in a manner entirely novel, and fitted for general use. In Germany, the original work has passed through a number of editions, and been extensively used in schools. The additions made by Mr. Fiske have been very considerable: and the multitude of striking plates, which distinguish this edition, is one of its most remarkable and useful traits. Of these there are more than eighty, of the full size of the page.

In comparing this with the admirable work of Smith, recently edited with great additions by Professor Anthon, it is to be observed, that while the latter is far more complete on the points which it touches, the book we are here noticing is more comprehensive, especially in respect to Geography, History, Mythology and Literature.

An Address delivered before the Washington and Franklin Literary Societies of La Fayette College, Easton, Pennsylvania, at the eighth annual Commencement. September 20, 1843. By William A. Porter, A. M. Easton. pp. 37.

AN interesting and creditable discourse upon a wellselected subject; namely, that the human mind has never been so successfully cultivated, nor produced fruits so abundant, as where opportunities for improvement have been fewest. The nature of the investigation leads the author into an extended and diversified induction of particular instances. He adduces the origin of Christianity, the Reformation, the French Revolution, and the rise of our own government; the chief names in Science, Literature and the Arts; and employs these to show the severe but effectual training by which men are made great. He proceeds to point out the duty of society to such men, especially in regard to the fostering of genius. From which he deduces arguments for the most laborious discipline, and for the severest virtue. The manner of the orator, throughout, is both pleasing and forcible.

Memoir of the Life, Labours, and Extensive Usefulness of the Rev. Christmas Evans: a distinguished minister of the Baptist denomination in Wales. Extracted from the Welsh Memoirs, by David Phillips. New York. M. W. Dodd. 1843. pp. 258. 12mo.