surveyed from within. We are acquainted with the soul and its phenomena as a bird with the air in which it floats. Distinction is superficial and formal merely. We touch objects as the earth we stand on, but the soul as the air we breathe. We know the world superficially, but the soul centrally. In the one case our surfaces meet, in the other our centres coincide.
Sept. 28, 1851. Hugh Miller, in his "Old Red Sandstone," speaking of "the consistency of style which obtains among the ichthyolites of this formation" and the "microscopic beauty of these ancient fishes," says: "The artist who sculptured the cherry-stone consigned it to a cabinet, and placed a microscope beside it; the microscopic beauty of these ancient fishes was consigned to the twilight depths of a primeval ocean. There is a feeling which at times grows upon the painter and the statuary, as if the perception and love of the beautiful had been sublimed into a kind of moral sense. Art comes to be pursued for its own sake: the exquisite conception in the mind or the elegant and elaborate model becomes all in all to the worker, and the dread of criticism or the appetite for praise almost nothing; and thus, through the influence of a power somewhat akin to conscience, but whose province is not the just and the good, but the fair, the refined, the exquisite, have works, pros-
