sient as the motions of the air, by which they are produced. To communicate feeling is the highest attribute of the art. Its means are wholly inadequate to convey ideas and the attempts at imitation have generally produced only a ludicrous effect. It has this advantage, however, over poetry and painting, that its influence is more immediate and instantaneous, and perceived without study or reflection; that it acts as if by enchantment, and appealing merely to sensation, yet subdues both imagination and memory; makes the soul obedient to its impulses, and creates for the time a world of its own.

THE mechanical arts and the fine arts can hardly be compared; the objects of the first being utility, of the last, pleasure. The mechanical arts delight us only indirectly, and by distant associations; the fine arts either directly, or by immediate associations. The steamengine may be an object of wonder, as connected with the power by which it

was produced, and the power which it exerts; but to understand its beneficial effects requires extensive knowledge, or a long detail of facts. Mechanism in general is too complicated to produce any general effect of pleasure. Inventions are admired by the multitude, more on account of their novelty or strangeness, than on account of their use or inge-nuity. The watch which is the guide of our time, is employed and considered with indifference: but we pay half a crown, to see a self moving spider of steel.

IN the truths of the natural sciences there is perhaps a nearer analogy to the productions of the refined arts. The contemplation of the laws of the universe is connected with an immediate tranquil exaltation of mind, and pure mental enjoyment. The perception of truth is almost as simple a feeling, as the perception of beauty and the genius of -Newton, of Shakspeare, of Michael Angelo, and of Handel, are not very remote in character from each other,

Imagination, as well as reason, is necessary to perfection, in the philosophical mind. A rapidity of combination, a power of perceiving analogies, and of comparing them by facts is the creative source of discovery. Discrimination and delicacy of sensation, so important in physical research, are other words for taste; and the love of nature is the same passion, as the love of the magnificent, the sublime, and the beautiful.

THE pleasure derived from great philosophical discoveries is less popular, and more limited, in its immediate effect, than that derived from the refined arts; but it is more durable, and less connected with fashion or caprice. Canvass and wood, and even stone, will decay. The work of a great artist loses all its spirit in the copy. Words are mutable and flecting; and the genius of poetry is often dissipated in translation. The compositions of music may remain; but the hand of execution may be wanting. Nature cannot decay: the language of her

interpreters will be the same in all times. It will be an universal tongue; speaking to all countries, and all ages, the excellence of the work, and the wisdom of the Creator.

A.

THE following remarks on the Utility of Remains of Antiquity are transmitted by a friend, to whom the Director has already with pleasure acknowledged his obligation for other communications.

Mr. Director,

THERE exists an idea, with some persons, that remains of antiquity are only valued, because they are old, and consequently scarce; and that therefore, the more, by being cracked or mutilated, corroded with rust, or covered with dirt reduced to a shapeless mass, or mouldered away to an insignificant fragment, they bear the external marks of age and decay, the more they rise in the estimation of their admirers.

TILL very lately, I must confess, I

imagined this ridiculous idea to have been entirely confined to the vulgar and the illiterate, to those who never had had any opportunity of seeing the finest collections of antient works of art, or even of hearing or reading the encomiums, bestowed on these collections by men of understanding and of science ; and, accordingly, only thought the stale jokes and insipid jests, which such uninformed persons would occasionally indulge themselves in what they are pleas sed to call collections of old pots and pans, deserving of silent contempt.

BUT, to my inexpressible astonishment, I have lately found some men, even among those who enjoy a certain reputation in letters, so profoundly ig-. norant with regard to the fine arts, as to entertain the same strange prejudice with the vulgar; and to feel no hesitation at ushering it into print, for the edification of the public, enlivened by the same set of elegant and novel jests, and moreover accompanied by a sly insinu