language of thought, and is distinguished from nature by the unity of all the parts in one thought or idea. Hence nature itself would give us the impression of a work of art if we could see the thought which is present at once in the whole and in every part; and a work of art will be just in proportion as it adequately conveys the thought, and rich in proportion to the variety of parts which it holds in unity.
If, therefore, the term 'mute' be taken as opposed not to sound but to articulate speech, the old definition of painting will in fact be the true and best definition of the Fine Arts in general, that is, muta poesis, mute poesy, and so of course poesy. And, as all languages perfect themselves by a gradual process of desynonymizing words originally equivalent, I have cherished the wish to use the word ' poesy' as the generic or common term, and to distinguish that species of poesy which is not muta poesis by its usual name 'poetry;' while of all the other species which collectively form the Fine Arts, there would remain this as the common definition,—that they all, like poetry, are to express intellectual purposes, thoughts, conceptions, and sentiments which have their origin in the human mind,—not, however, as poetry does, by means of articulate speech, but as nature or the divine art does, by form, colour, magnitude, proportion, or by sound, that is, silently or musically.
Well! it may be said—but who has ever
