ple, but it is being swept away to build cafés and gaming-houses:* when the honor of God is thought to consist in the poverty of his temple, and the column is shortened, and the pinnacle shatteras, the color denied to the casement, and the marble to the altar,

* The extent of ravage among works of art, or of historical interest, continually committing throughout the continent may, perhaps, be in some measure estimated from the following facts, to which the experience of every traveller may add indefinitely :

At Peauvois-The magnificent old houses supported on columns of workmanship (co far as I recollect) unique in the north of France, at the corner of the market-piace, have recently been destroyed for the enlarging of some ironmongery and grocery warehouses. The arch across the street leading to the cathedral has been destroyed also, for what purpose, I know not.

At Rouen-The last of the characteristic houses on the quay is now disappearing. When I was last there, I witnessed the destruction of the noble gothic portal of the church of St. Nicholas, whose position interfered with the courtyard of an hotel; the greater part of the ancient churches are used as smithies, or warehouses for goods. So also at Tours (St. Julien.) One of the most interesting and superb pieces of middle-age domestic architecture in Europe, opposite the west front of the cathedral, is occupied as a café, and its lower story concealed by painted wainscotings; representing, if I recollect right, twopenny rolls surrounded by circles of admiring cherubs.

At Geneva-The wooden projections or loggias which were once the char acteristic feature of the city, have been entirely removed within the last ten years.

At Pisa-The old Baptistery is at this present time in process of being "restored," that is, dashed to pieces, and common stone painted black and varnished, substituted for its black marble. In the Campo Santo, the invaluable frescoes, which might be protected by merely glazing the arcades, are left exposed to wind and weather. While I was there last year, I saw a monument put up against the lower part of the wall, to some private person; the bricklayers knocked out a large space of the lower brickwork, with what beneficial effect to the loose and blistered stucco on which the frescoes are painted above, I leave the reader to imagine; inserted the tablet, and then plastered over the marks of the insertion, destroying a portion of the border of one of the paintings. The greater part of Giotto's "Satan before God," has been destroyed by the recent insertion of one of the beams of the roof.

The tomb of Antonio Puccinello, which was the last actually put up against the frescoes, and which destroyed the terminal subject of the Giotto series, bears date 1808.

It has been proposed, (or at least it is so reported,) that the church of a Spina should be destroyed in order to widen the quay.

At Florence--One of its most important and characteristic streets, that in which stands the church of Or San Michele, has been within the last five years entirely destroyed and rebuilt in the French style; consisting now almost exclusively of shops of bijouterie and parfumerie, Owing to this direction

while exchequers are exhausted in luxury of boudoirs, and pride of reception-rooms; when we ravage without a pause all the love. liness of creation which God in giving pronounced good, and destroy without a thought all those labors which men have given their lives, and their sons' sons' lives to complete, and have left for a legacy to all their kind, a legacy of more than their hearts' blood, for it is of their souls' travail, there is need, bitter need, to bring back, if we may, into men's minds, that to live is nothing, unless to live be to know Him by whom we live, and that he is not

of public funds, the fronts of the Duomo, Santa Croce, St. Lorenzo, and half the others in Florence remain in their original bricks.

The old refectory of Santa Croce, containing an invaluable Cenacolo, if not by Giotto, at least one of the finest works of his school, is used as a carpet manufactory. In order to see the fresco, I had to get on the top of a loom, The cenacolo (of Raffaelle ?) recently discovered, I saw when the refectory it adorns was used as a coach-house. The fresco, which gave Raffaelle the idea of the Christ of the Transfiguration, is in an old wood shed at San Miniato, concealed behind a heap of faggots. In June, last year, I saw Gentile da Fabriano's picture of the Adoration of the Magi, belonging to the Academy of Florence, put face upmost in a shower of rain in an open cart; on my suggesting the possibility of the rain hurting it, an old piece of matting was thrown over its face, and it was wheeled away "per essere pulita.” What fate this signified, is best to be discovered from the large Perugino in the Academy; whose divine distant landscape is now almost concealed by the mass of French ultramarine, painted over it apparently with a common house brush, by the picture cleaner.

Not to detain the reader by going through the cities of Italy, I will only further mention, that at Padua, the rain beats through the west window of the Arena chapel, and runs down over the frescoes. T! at at Venice, in September last, I saw three buckets set in the scuola di San Rocco to catch the rain which came through the canvasses of Tintoret on the roof; and that while the old works of art are left thus unprotected, the palaces are being restored in the following modes. The English residents knock out bow windows to see up and down the canal. The Italians paint all the marble white or cream color, stucco the fronts, and paint them in blue and white stripes to imitate alabaster. (This has been done with Danieli's hotel, with the north angle of the church of St. Mark, there replacing the real alabasters which have been torn down, with a noble old house in St. Mark's place, and with several in the narrow canals.) The marbles of St. Marks, and carvings, are being scraped down to make them look bright-the lower arcade of the Doge's palace is whitewashed-the entrance porch is being restored-the operation having already proceeded so far as the knocking off of the heads of the old statuesan iron railing painted black and yellow has been put round the court. Faded tapestries, and lottery tickets (the latter for the benefit of charitable institutions) are exposed for sale in the cncil chambers.

8. Division of

men into subservient and it. objective.

to be known by marring his fair works, and blotting out the evidence of his influences upon his creatures, not amid the hurry of crowds and crash of innovation, but in solitary places, and out of the glowing intelligences which he gave to men of old. He did not teach them how to build for glory and for beauty, he did not give them the fearless, faithful, inherited energies that worked on and down from death to death, generation after generation, that we, foul and sensual as we are, might give the carved work of their poured-out spirit to the axe and the hammer; he has not cloven the earth with rivers, that their white wild waves might turn wheels and push paddles, nor turned it up under as it were fire, that it might heat wells and cure diseases; he brings not up his quails by the east wind, only to let them fall in flesh about the camp of men he has not heaped the rocks of the mountain only for the quarry, nor clothed the grass of the field only for the oven. All science and all art may be divided into that the pursuits of which is subservient to life, and which is the object of As subservient to life, or practical, their results are, in the common sense of the word, useful. As the object of life or theoretic, they are, in the common sense, useless; and yet the step between practical and theoretic science is the step between the miner and the geologist, the apothecary and the chemist; and the step between practical and theoretic art is that between the bricklayer and the architect, between the plumber and the artist, and this is a step allowed on all hands to be from less to greater; so that the so-called useless part of each profession does by the authoritative and right instinct of mankind assume the superior and more noble place, even though books be sometimes written, and that by writers of no ordinary mind, which assume that a chemist is rewarded for the years of toil which have traced the greater part of the combinations of matter to their ultimate atoms, by discovering a cheap way of refining sugar, and date the eminence of the philosopher, whose life has been spent in the investigation of the laws of light, from the time of his inventing an improvement in spectacles.

But the common consent of men proves and accepts the proposition, that whatever part of any pursuit ministers to the bodily comforts, and admits of material uses, is ignoble, and whatsoever part is addressed to the mind only, is noble; and that geology

does better in reclothing dry bones and revealing lost creations, than in tracing veins of lead and beds of iron; astronomy better in opening to us the houses of heaven than in teaching navigation; botany better in displaying structure than in expressing juices; surgery better in investigating organization than in setting limbs; only it is ordained that, for our encouragement, every step we make in the more exalted range of science adds something also to its practical applicabilities; that all the great phenomena of nature, the knowledge of which is desired by the angels only, by us partly, as it reveals to farther vision the being and the glory of Him in whom they rejoice and we live, dispense yet such kind influences and so much of material blessing as to be joyfully felt by all inferior creatures, and to be desired by them with such single desire as the imperfection of their nature may admit;* that the strong torrents which, in their own gladness fill the hills with hollow thunder and the vales with winding light, have yet their bounden charge of field to feed and barge to bear; that the fierce flames to which the Alp owes its upheaval and the volcano its terror, temper for us the metal vein and quickening spring; 'and that for our incitement, I say not our reward, for knowledge is its own reward, herbs have their healing, stones their preciousness, and stars their times.

It would appear, therefore, that those pursuits which § 9. Their rela tive dignities. are altogether theoretic, whose results are desirable or admirable in themselves and for their own sake, and in which no farther end to which their productions or discoveries are referred, can interrupt the contemplation of things as they are, by the endeavor to discover of what selfish uses they are capable, (and of this order are painting and sculpture,) ought to take rank above all pursuits which have any taint in them of subserviency to life, in so far as all such tendency is the sign of less eternal and less holy function. And such rank these two sublime arts would indeed assume in the minds of nations, and become objects of corresponding efforts, but for two fatal and wide-spread errors respecting the great faculties of mind concerned in them.

* Hooker, Eccl. Pol. Book I. chap. ii. § 2.

§ 10. How re

versed through

erring notions

of the contem aginative facul

plative and im

ties.

† I do not assert that the accidental utility of a theoretic pursuit, as v. botany for instance, in any way degrades it, though it cannot be considered

10

RANK AND RELATIONS OF THEORETIC FACULTY. [PART JIL The first of these, or the theoretic faculty, is concerned with he moral perception and appreciation of ideas of beauty. And the error respecting it is the considering and calling it æsthetic, degrading it to a mere operation of sense, or perhaps worse, of custom, so that the arts which appeal to it sink into a mere amusement, ministers to morbid sensibilities, ticklers and fanners of the soul's sleep.

The second great faculty is the imaginative, which the mind exercises in a certain mode of regarding or combining the ideas 't has received from external nature, and the operations of which become in their turn objects of the theoretic faculty to other minds.

And the error respecting this faculty is, that its function is one of falsehood, that its operation is to exhibit things as they are not, and that in so doing it mends the works of God.

§ 11. Object of

tion.

Now, as these are the two faculties to which I shall the present sec- have occasion constantly to refer during that examination of the ideas of beauty and relation on which we are now entering, because it is only as received and treated by these, that those ideas become exalted and profitable, it becomes necessary for me, in the outset, to explain their power and define their sphere, and to vindicate, in the system of our nature, their true place for the intellectual lens and moral retina by which and on which our informing thoughts are concentrated and represented.

as elevating it. But essential utility, a purpose to which the pursuit is in some measure referred, as in architecture, invariably degrades, because then the theoretic part of the art is comparatively lost sight of; and thus architecture takes a level below that of sculpture or painting, even when the powers of mind developed in it are of the same high order.

When we pronounce the name of Giotto, our venerant thoughts are at Assisi and Padua, before they climb the Campanile of Santa Maria del Fiore. And he who would raise the ghost of Michael Angelo, must haunt the Sistine and St. Lorenzo, not St. Peter's.