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representations, and in the same spirit overwhelming what he deemed falsehood by moral denunciation and a succession of pictures appalling or repulsive. In his prose, so many metaphors, so many allegorical miniatures. Taylor, eminently discursive, accumulative, and (to use one of his own words) agglomerative; still more rich in images than Milton himself, but images of Fancy, and presented to the common and passive eye, rather than to the eye of the imagination. Whether supporting or assailing, he makes his way either by argument or by appeals to the affections, unsurpassed even by the Schoolmen in subtlety, agility and logical wit, and unrivalled by the most rhetorical of the fathers in the copiousness and vividness of his expressions and illustrations. Here words that convey feelings, and words that flash images, and words of abstract notion, flow together, and at once whirl and rush onward like a stream, at once rapid and full of eddies; and yet still, interfused here and there, we see a tongue or islet of smooth water, with some picture in it of earth or sky, landscape or living group of quiet beauty.
Differing, then, so widely, and almost contrariantly, wherein did these great men agree? wherein did they resemble each other? In Genius, in Learning, in unfeigned Piety, in blameless Purity of Life, and in benevolent aspirations and purposes for the moral and temporal improvement of their fellow-creatures! Both of them wrote a
