Herein is the explanation of the analogies, which exist in all the arts. They are the re-appearance of one mind, working in many materials to many temporary ends. Raphael paints wisdom, Handel sings it, Phidias carves it, Shakspeare writes it, Wren builds it, Columbus sails it, Luther preaches it, Washington arms it, Watt mechanizes it. Painting was called "silent poetry," and poetry "speaking painting." The laws of each art are convertible into the laws of every other.

As to methods, there may be a million and then some, but principles are few. The man who grasps principles can successfully select his own methods.

At the gates of the forest, the surprised man of the world is forced to leave his city estimates of great and small, wise and foolish. The knapsack of custom falls off his back with the first step he makes into these precincts. Here is sanctity which shames our religions, and reality which discredits our heroes. Here we find Nature to be the circumstance which dwarfs every other circumstance, and judges like a god all men that come to her.

We call the beautiful the highest, because it appears to us the golden mean, escaping the dowdiness of the good and the heartlessness of the true.

Let us even bid our dearest friends farewell, and defy them, saying, "Who are you? Unhand me: I will be dependent no more." Ah! seest thou not, O brother, that thus we part only to meet again on a higher platform, and only be more each other's, because we are more our own?

Empirical science is apt to cloud the sight, and, by the very knowledge of functions and processes, to bereave the student of themanly contemplation of the whole.

Be a football to Time and Chance, the more kicks, the better, so that you inspect the whole game and know its utmost law.