not in Art more of the prophetic than we are now aware of. To us
it seems that this irrepressible desire to find the good in the
beautiful, and the beautiful in the good, implies an end, both
beyond and above the trifling present; pointing to deep and dark
questions,--to no less than where the mysteries which surround us will
meet their solution. One great mystery we see in part resolving itself
here. We see the deformities of the body sometimes giving place to
its glorious tenant. Some of us may have witnessed this, and felt
the spiritual presence gaining daily upon us, till the outward shape
seemed lost in its brightness, leaving no trace in the memory.

Whether the position we have endeavoured to establish be disputed or
not, the absolute correspondence between the Moral and the Physical
is, at any rate, the essential ground of the Plastic arts; which could
not else exist, since through _Form alone_ they have to convey,
not only thought and emotion, but distinct and permanent character.
For our own part, we cannot but consider their success in this as
having settled the question.

From the view here presented, what is the inference in relation to
Art? That Man, as a compound being, cannot be represented without an
indication as well of Mind as of body; that, by a natural law which we
cannot resist, we do continually require that they be to us as mutual
exponents, the one of the other; and, finally, that, as a responsible
being, and therefore a free agent, he cannot be truly represented,
either to the memory or to the imagination, but as an Individual.

It would seem, also, from the indefinite varieties in men, though
occasioned only by the mere difference of degrees in their common
faculties and powers, that the coincidence of an equal developement of