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too remote; and when once we have attained it, let our attention be directed to a different subject. Inconstancy weakens the understanding; a long and exclusive application to a single object hardens and contracts it. Our ideas no longer change easily into a different channel, and the course of reading to which we have too long accustomed ourselves is the only one that we can pursue with pleasure.

We ought, besides, to be careful not to make the order of our thoughts subservient to that of our subjects; this would be to sacrifice the principal to the accessory. The use of our reading is to aid us in thinking. The perusal of a particular work gives birth, perhaps, to ideas unconnected with the subject of which it treats. I wish to pursue these ideas; they withdraw me from my proposed plan of reading, and throw me into a new track, and from thence, perhaps, into a second and a third. At length I begin to perceive whither my researches tend. Their result, perhaps, may be profitable; it is worth while to try; whereas, had I followed the high road, I should not have been able, at the end of my long journey, to retrace the progress of my thoughts.

This plan of reading is not applicable to our early studies, since the severest method is scarcely sufficient to make us conceive objects altogether new. Neither can it be adopted by those who read in order to write, and who ought to dwell on their subject till they have sounded its depths. These reflections, however, I do not absolutely warrant. On the supposition that they are just, they may be so, perhaps, for myself only. The constitution of minds differs like that of bodies; the same regimen will not suit all. Each individual ought to study his own.

To read with attention, exactly to define the expressions of our author, never to admit a conclusion without comprehending its reason, often to pause, reflect, and interrogate ourselves, these are so many advices which it is easy to give, but difficult to follow. The same may be said of that almost evangelical maxim of forgetting friends, country, religion, of giving merit its due praise, and embracing truth wherever it is to be found.

But what ought we to read? Each individual must answer this question for himself, agreeably to the object of his studies. The only general precept that I would venture to give, is that of Pliny, 'to read much, rather than many things;' to make a careful selection of the best works, and to render them familiar to us by attentive and repeated perusals.

GILLIES ROSCOE-LAING-PINKERTON.

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languages. After the completion of his clerkship, Mr Roscoe entered into business in Liverpool, and took an active part in every scheme of improvement, local and national. He wrote a poem on the Wrongs of Africa, to illustrate the evils of slavery, and also a pamphlet on the same subject, which was translated into French by Madame Necker. The stirring times in which he lived called forth several short political dissertations from his pen; but about the year 1789, he applied himself to the great task he had long meditated, a biographical account of Lorenzo de Medici. He procured much new and valuable information, and in 1796 published the result of his labours in two quarto volumes, entitled The Life of Lorenzo de Medici, called the Magnificent. The work was highly successful, and at once elevated Mr Roscoe into the proud situation of one of the most popular authors of the day. A second edition was soon called for, and Messrs Cadell and Davies purchased the copyright for £1200. About the same time he relinquished the practice of an attorney, and studied for the bar, but ultimately settled as a banker in Liverpool. His next literary appearance was as the translator of The Nurse, a poem, from the Italian of Luigi Tansillo. In 1805 was published his second great work, The Life and Pontificate of Leo X., four volumes quarto, which, though carefully prepared, and also enriched with

DR JOHN GILLIES, historiographer to his majesty for Scotland, published The History of Ancient Greece, its Colonies and Conquests, two volumes, quarto, 1786. The monarchical spirit of the new historian was decidedly expressed. The history of Greece,' says Dr Gillies, exposes the dangerous turbulence of democracy, and arraigns the despotism of tyrants. By describing the incurable evils inherent in every republican policy, it evinces the inestimable benefits resulting to liberty itself from the lawful dominion of hereditary kings, and the steady operation of well-new information, did not experience the same regulated monarchy.' The history of Dr Gillies was executed with considerable ability and care; a sixth edition of the work (London, 1820, four volumes, 8vo) has been called for, and it may still be consulted with advantage.

WILLIAM ROSCOE (1753-1831), as the author of the Life of Lorenzo de Medici, and the Life and Pontificate of Leo X., may be more properly classed with our historians than biographers. The two works contain an account of the revival of letters, and fill up the blank between Gibbon's Decline and Full and Robertson's Charles V. Mr Roscoe was a

success as his life of Lorenzo. The history of the reformation of religion,' it has been justly remarked, 'involved many questions of subtle disputation, as well as many topics of character and conduct; and, for a writer of great candour and discernment, it was scarcely possible to satisfy either the Papists or the Protestants.' The liberal sentiments and accomplishments of Mr Roscoe recommended him to his townsmen as a fit person to represent them in parliament, and he was accordingly elected in 1806. He spoke in favour of the abolition of the slave-trade, and of the civil disabilities of the

peculiar style of those writers who were popular in his youth, and may be mentioned as a remarkable instance of the disproportion of particular talents to a general vigour of mind.'

Catholics, which excited against him a powerful and violent opposition. Inclined himself to quiet and retirement, and disgusted with the conduct of his opponents, he withdrew from parliament at the next dissolution, and resolutely declined offering himself JOHN PINKERTON (1758-1825) distinguished himas a candidate. He still, however, took a warm self by the fierce controversial tone of his historical interest in passing events, and published several | writings, and by the violence of his prejudices, yet pamphlets on the topics of the day. He pro-was a learned and industrious collector of forgotten jected a history of art and literature, a task well fragments of ancient history and of national antisuited to his talents and attainments, but did not quities. He was a native of Edinburgh, and bred proceed with the work. Pecuniary embarrassments also came to cloud his latter days. The banking establishment of which he was a partner was forced in 1816 to suspend payment, and Mr Roscoe had to sell his library, pictures, and other works of art. His love of literature continued undiminished. He gave valuable assistance in the establishment of the Royal Institution of Liverpool, and on its opening, delivered an inaugural address on the origin and vicissitudes of literature, science, and art, and their influence on the present state of society. In 1827 he received the great gold medal of the Royal Society of Literature for his merits as a historian. He had previously edited an edition of Pope, in ten volumes.

MALCOLM LAING, a zealous Scottish historian, was born in the year 1762 at Strynzia, his paternal estate, in Orkney. He was educated for the Scottish bar, and passed advocate in 1785. He appeared as an author in 1793, having completed Dr Henry's History of Great Britain after that author's death. The sturdy Whig opinions of Laing formed a contrast to the tame moderatism of Henry; but his attainments and research were far superior to those of his predecessor. In 1800 he published The History of Scotland from the Union of the Crowns on the Accession of King James VI. to the Throne of England, to the Union of the Kingdoms in the Reign of Queen Anne; with two Dissertations, Historical and Critical, on the Gowrie Conspiracy, and on the supposed Authenticity of Ossian's Poems. This is an able work, marked by strong prejudices and predilections, but valuable to the historical student for its acute reasoning and analysis. Laing attacked the translator of Ossian with unmerciful and almost ludicrous severity; in revenge for which, the Highland admirers of the Celtic muse attributed his sentiments to the prejudice natural to an Orkney man, caused by the severe checks given by the ancient Caledonians to their predatory Scandinavian predecessors! Laing replied by another publication-The Poems of Ossian, &c., containing the Poetical Works of James Macpherson, Esq., in Prose and Rhyme, with Notes and Illustrations. In 1804, he published another edition of his History of Scotland, to which he prefixed a Preliminary Dissertation on the Participation of Mary Queen of Scots in the Murder of Darnley. The latter is a very ingenious historical argument, the ablest of Mr Laing's productions, uniting the practised skill and acumen of the Scottish lawyer with the knowledge of the antiquary and historian. The latter portion of Mr Laing's life was spent on his paternal estate in Orkney, where he entered upon a course of local and agricultural improvement with the same ardour that he devoted to his literary pursuits. He died in the year 1818. 'Mr Laing's merit,' says a writer in the Edinburgh Review, as a critical inquirer into history, an enlightened collector of materials, and a sagacious judge of evidence, has never been surpassed. In spite of his ardent love of liberty, no man has yet presumed to charge him with the slightest sacrifice of historical integrity to his zeal. That he never perfectly attained the art of full, clear, and easy narrative, was owing to the

to the law. The latter, however, he soon forsook for literary pursuits. He commenced by writing imperfect verses, which, in his peculiar antique orthography, he styled 'Rimes,' from which he diverged to collecting Select Scottish Ballads, 1783, and inditing an Essay on Medals, 1784. Under the name of Heron, he published some Letters on Literature, and was recommended by Gibbon to the booksellers as a fit person to translate the monkish historians. He afterwards (1786) published Ancient Scottish Poems, being the writings of Sir Richard Maitland and others, extracted from a manuscript in the Pepys Library at Cambridge. His first historical work was A Dissertation on the Origin and Progress of the Scythians, or Goths, in which he laid down that theory which he maintained through life, that the Celts of Ireland, Wales, and Scotland, are savages, and have been savages since the world began! His next important work was an Inquiry into the History of Scotland Preceding the Reign of Malcolm III., or 1056, in which he debates at great length, and, as Sir Walter Scott remarks, with much display of learning, on the history of the Goths, and the conquests which he states them to have obtained over the Celts in their progress through all Europe. In 1796, he published a History of Scotland during the Reign of the Stuarts, the most laborious and valuable of his works. He also compiled a Modern Geography, edited a Collection of Voyages and Travels, was some time editor of the Critical Review, wrote a Treatise on Rocks, and was engaged on various other literary tasks. Pinkerton died in want and obscurity in Paris.

METAPHYSICAL WRITERS.

The novelty and boldness of Hume's speculations, and the great talent and ingenuity with which they were propounded and illustrated, continued a taste for metaphysical studies, especially in Scotland.

DR REID.

DR REID's Inquiry into the Human Mind, published in 1764, was an attack on the ideal theory, and on the sceptical conclusions which Hume deduced from it. The author had the candour to submit it to Hume before publication; and the latter, with his usual complacency and good-nature, acknowledged the merit of the treatise. In 1785 Reid published his Essays on the Intellectual Powers of Man, and in 1788 those on the Active Powers. The merit of Reid as a correct reasoner and original thinker on moral science, free from the jargon of the schools, and basing his speculations on inductive reasoning, has been generally admitted. The ideal theory which he combated, taught that nothing is perceived but what is in the mind which perceives it; that we really do not perceive things that are external, but only certain images and pictures of them imprinted upon the mind, which are called impressions and ideas. This doctrine Reid had himself believed, till, finding it led to important consequences, he

asked himself the question: "What evidence have I for this doctrine, that all the objects of my knowledge are ideas in my own mind?' He set about an inquiry, but could find no evidence for the principle, he says, excepting the authority of philosophers. Dugald Stewart says of Reid, that it is by the logical rigour of his method of investigating metaphysical subjects-imperfectly understood even by the disciples of Locke-still more than by the importance of his particular conclusions, that he stands so conspicuously distinguished among those who have hitherto prosecuted analytically the study of man. In the dedication of his Inquiry, Reid incidentally makes a definition which strikes us as very happy: "The productions of imagination,' he says, 'require a genius which soars above the common rank; but the treasures of knowledge are commonly buried deep, and may be reached by those drudges who can dig with labour and patience, though they have not wings to fly.' Dr Reid was a native of Strachan, in Kincardineshire, where he was born on the 26th of April 1710. He was bred to the church, and obtained the living of New Machar, Aberdeenshire. In 1752 he was appointed professor of moral philosophy in King's College, Aberdeen, which he quitted in' 1763 for the chair of moral philosophy in Glasgow. He died on the 7th of October 1796.

place-book, into which he transcribed all anecdotes of man, in his various nations and degrees of civilisation which occurred in the course of his reading, or appeared in the fugitive publications of the day. When advanced to near eighty years of age, he threw these together in a work entitled Sketches of the History of Man (two vols. 4to, 1773), which shews his usual ingenuity and acuteness, and presents many curious disquisitions on society, but is materially reduced in value by the absence of a

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LORD KAMES.

HENRY HOME (1696-1782), a Scottish lawyer and judge, in which latter capacity he took, according to a custom of his country, the designation of Lord Kames, was a conspicuous member of the literary and philosophical society assembled in Edinburgh during the latter part of the eighteenth century. During the earlier part of his life, he devoted the whole powers of an acute and reflective mind, and with an industry calling for the greatest praise, to his profession, and compilations and treatises connected with it. But the natural bent of his faculties towards philosophical disquisition-the glory if not the vice of his age and country-at length took the mastery, and, after reaching the bench in 1752, he gave his leisure almost exclusively to metaphysical and ethical subjects. His first work of this kind, Essays on the Principles of Morality and Natural Religion, combats those theories of human nature which deduce all actions from some single principle, and attempts to establish several principles of action. He here maintained philosophical necessity, but in a connection with the duties of morality and religion, which he hoped might save him from the obloquy bestowed on other defenders of that doctrine; an expectation in which he was partially disappointed, as he narrowly escaped a citation before the General Assembly of his native church, on account of this book.

The Introduction to the Art of Thinking, published in 1761, was a small and subordinate work, consisting mainly of a series of detached maxims and general observations on human conduct, illustrated by anecdotes drawn from the stores of history and biography. In the ensuing year appeared a larger work, perhaps the best of all his compositions-The Elements of Criticism, three volumes, a bold and original performance, which, discarding all arbitrary rules of literary criticism derived from authority, seeks for a proper set of rules in the fundamental principles of human nature itself. Dugald Stewart admits this to be the first systematic attempt to investigate the metaphysical principles of the fine arts.

.House of Lord Kames, Canongate, Edinburgh.

proper authentication to many of the statements presented in it as illustrations. A volume, entitled Loose Hints on Education, published in 1781, and in which he anticipates some of the doctrines on that subject which have since been popular, completes the list of his philosophical works.

Lord Kames was also distinguished as an amateur agriculturist and improver of land, and some operations, devised by him for clearing away a superincumbent moss from his estate by means of water raised from a neighbouring river, help to mark the originality and boldness of his conceptions. This taste led to his producing, in 1777, a volume entitled The Gentleman Farmer, which he has himself sufficiently described as 'an attempt to improve agriculture by subjecting it to the test of rational principles.'

Lord Kames was a man of commanding_aspect and figure, but easy and familiar manners. He was the life and soul of every private company, and it was remarked of him that no subject seemed too great or too frivolous to derive lustre from his remarks upon it. The taste and thought of his philosophical works have now placed them out of fashion, but they contain many views and reflections from which modern inquirers might derive advantage.

[Pleasures of the Eye and the Ear.] That nothing external is perceived till first it make Lord Kames had, for many years, kept a common- an impression upon the organ of sense, is an observation

that holds equally in every one of the external senses. But there is a difference as to our knowledge of that impression; in touching, tasting, and smelling, we are sensible of the impression; that, for example, which is made upon the hand by a stone, upon the palate by an apricot, and upon the nostrils by a rose. It is other wise in seeing and hearing; for I am not sensible of the impression made upon my eye when I behold a tree, nor of the impression made upon my ear when I listen to a song. That difference in the manner of perceiving external objects, distinguisheth remarkably hearing and seeing from the other senses; and I am ready to shew that it distinguisheth still more remarkably the feelings of the former from that of the latter; every feeling, pleasant or painful, must be in the mind; and yet, because in tasting, touching, and smelling, we are sensible of the impression made upon the organ, we are led to place there also the pleasant or painful feeling caused by that impression; but, with respect to seeing and hearing, being insensible of the organic impression, we are not misled to assign a wrong place to the pleasant or painful feelings caused by that impression; and therefore we naturally place them in the mind, where they really are; upon that account, they are conceived to be more refined and spiritual than what are derived from tasting, touching, and smelling; for the latter feelings, seeming to exist externally at the organ of sense, are conceived to be merely corporeal.

The pleasures of the eye and the ear being thus elevated above those of the other external senses, acquire so much dignity, as to become a laudable entertainment. They are not, however, set on a level with the purely intellectual, being no less inferior in dignity to intellectual pleasures, than superior to the organic or corporeal: they indeed resemble the latter, being, like them, produced by external objects; but they also resemble the former, being, like them, produced without any sensible organic impression. Their mixed nature and middle place between organic and intellectual pleasures qualify them to associate with both; beauty heightens all the organic feelings, as well as the intellectual; harmony, though it aspires to inflame devotion, disdains not to improve the relish of a banquet.

The pleasures of the eye and the ear have other valuable properties beside those of dignity and elevation; being sweet and moderately exhilarating, they are in their tone equally distant from the turbulence of passion and the languor of indolence; and by that tone are perfectly well qualified not only to revive the spirits when sunk by sensual gratification, but also to relax them when overstrained in any violent pursuit. Here is a remedy provided for many distresses; and to be convinced of its salutary effects, it will be sufficient to run over the following particulars. Organic pleasures have naturally a short duration; when prolonged, they lose their relish; when indulged to excess, they bezet satiety and disgust; and to restore a proper tone of mind, nothing can be more happily contrived than the exhilarating pleasures of the eye and ear. On the other hand, any intense exercise of intellectual powers becomes painful by overstraining the mind; cessation from such exercise gives not instant relief; it is necessary that the void be filled with some amusement, gently relaxing the spirits: organic pleasure, which hath no relish but while we are in vigour, is ill qualified for that office; but the finer pleasures of sense, which occupy, without exhausting, the mind, are finely qualified to restore its usual tone after severe application to study or business, as well as after satiety from sensual gratification.

spirits, and exceed the purely sensual without danger of satiety. The pleasures of the eye and ear have accordingly a natural aptitude to draw us from the immoderate gratification of sensual appetite; and the mind, once accustomed to enjoy a variety of external objects without being sensible of the organic impression, is prepared for enjoying internal objects where there cannot be an organic impression. Thus the Author of nature, by qualifying the human mind for a succession of enjoyments from low to high, leads it by gentle steps from the most grovelling corporeal pleasures, for which only it is fitted in the beginning of life, to those refined and sublime pleasures that are suited to its maturity.

But we are not bound down to this succession by any law of necessity: the God of nature offers it to us in order to advance our happiness; and it is sufficient that he hath enabled us to carry it on in a natural course. Nor has he made our task either disagreeable or difficult: on the contrary, the transition is sweet and easy from corporeal pleasures to the more refined pleasures of sense; and no less so from these to the exalted pleasures of morality and religion. We stand therefore engaged in honour as well as interest, to second the purposes of nature by cultivating the pleasures of the eye and ear, those especially that require extraordinary culture, such as arise from poetry, painting, sculpture, music, gardening, and architecture. This especially is the duty of the opulent, who have leisure to improve their minds and their feelings. The fine arts are contrived to give pleasure to the eye and the ear, disregarding the inferior senses. A taste for these arts is a plant that grows naturally in many soils; but without culture, scarce to perfection in any soil: it is susceptible of much refinement, and is by proper care greatly improved. In this respect, a taste in the fine arts goes hand in hand with the moral sense, to which, indeed, it is nearly allied: both of them discover what is right and what is wrong: fashion, temper, and education, have an influence to vitiate both, or to preserve them pure and untainted: neither of them are arbitrary nor local, being rooted in human nature, and governed by principles common to all men. The design of the present undertaking, which aspires not to morality, is to examine the sensitive branch of human nature, to trace the objects that are naturally agreeable, as well as those that are naturally disagreeable; and by these means to discover, if we can, what are the genuine principles of the fine arts. The man who aspires to be a critic in these arts must pierce still deeper; he must acquire a clear perception of what objects are lofty, what low, what proper or improper, what manly, and what mean or trivial; hence a foundation for reasoning upon the taste of any individual, and for passing a sentence upon it: where it is conformable to principles, we can pronounce with certainty that it is correct; otherwise, that it is incorrect and perhaps whimsical. Thus the fine arts, like morals, become a rational science; and, like morals, may be cultivated to a high degree of refinement.

Manifold are the advantages of criticism when thus studied as a rational science. In the first place, a thorough acquaintance with the principles of the fine arts redoubles the pleasure we derive from them. To the man who resigns himself to feeling without interposing any judgment, poetry, music, painting, are mere pastime. In the prime of life, indeed, they are delightful, being supported by the force of novelty and the heat of imagination; but in time they lose their relish, and are generally neglected in the maturity of life, which disposes to more serious and more important occupations. To those who deal in criticism as a Our first perceptions are of external objects, and our regular science governed by just principles, and giving first attachments are to them. Organic pleasures take scope to judgment as well as to fancy, the fine arts the lead; but the mind gradually ripening, relisheth are a favourite entertainment, and in old age mainmore and more the pleasures of the eye and ear, which tain that relish which they produce in the morning approach the purely mental without exhausting the! of life.

DR BEATTIE.

avarice and ambition are not the infirmities of that
period, would, with equal sincerity and rapture,
exclaim:

'I care not, Fortune, what you me deny;
You cannot rob me of free nature's grace;
You cannot shut the windows of the sky,

Through which Aurora shews her brightening face;
You cannot bar my constant feet to trace

The woods and lawns by living stream at eve.'

Such minds have always in them the seeds of true taste, and frequently of imitative genius. At least, though their enthusiastic or visionary turn of mind, as the man of the world would call it, should not always incline them to practise poetry or painting, we need not scruple to affirm that, without some portion of this enthusiasın, no person ever became a true poet or painter. For he who would imitate the works of nature, must first accurately observe them, and accurate observation is to be expected from those only who take great pleasure indifferent. In the crowded city and howling wilderTo a mind thus disposed, no part of creation is

Among the answerers of Hume was DR BEATTIE the poet, who, in 1770, published his Essay on the Nature and Immutability of Truth, in Opposition to Sophistry and Scepticism. Inferior to most of the metaphysicians in logical precision, equanimity of temper, or patient research, Beattie brought great zeal and fervour to his task, a respectable share of philosophical knowledge, and a better command of popular language and imaginative illustration than most of his fellow-labourers in that dry and dusty field. These qualities, joined to the pious and beneficial tendency of his work, enabled him to produce a highly popular treatise. No work of the kind was ever so successful. It has fallen into equal neglect with other metaphysical treatises of the age, and is now considered unworthy the talents of its author. It has neither the dignity nor the acumen of the original philosopher, and is unsuited to the ordinary religious reader. The best of Beattie's prose works are his Dissertations, Moral and Critical, and hisness, in the cultivated province and solitary isle, in the Essays on Poetry, Music, &c. He also published 2 digest of his college lectures, under the title of Elements of Moral Science. In these works, though not profoundly philosophical, the author's 'lively relish for the sublime and beautiful, his clear and elegant style,' and his happy quotations and critical examples, must strike every reader.

[On the Love of Nature.]

[From Beattie's Essays.]

Homer's beautiful description of the heavens and earth, as they appear in a calm evening by the light of the moon and stars, concludes with this circumstance and the heart of the shepherd is glad.' Madame Dacier, from the turn she gives to the passage in her version, seems to think, and Pope, in order perhaps to make out his couplet, insinuates, that the gladness of the shepherd is owing to his sense of the utility of those luminaries. And this may in part be the case; but this is not in Homer; nor is it a necessary consideration. It is true that, in contemplating the material universe, they who discern the causes and effects of things must be more rapturously entertained than those who perceive nothing but shape and size, colour and motion. Yet, in the mere outside of nature's works-if I may so express myself there is a splendour and a magnificence to which even untutored minds cannot attend without great delight.

Not that all peasants or all philosophers are equally susceptible of these charming impressions. It is strange to observe the callousness of some men, before whom all the glories of heaven and earth pass in daily succession, without touching their hearts, elevating their fancy, or leaving any durable remembrance. Even of those who pretend to sensibility, how many are there to whom the lustre of the rising or setting sun, the sparkling concave of the midnight sky, the mountain forest tossing and roaring to the storm, or warbling with all the melodies of a summer evening; the sweet interchange of hill and dale, shade and sunshine, grove, lawn, and water, which an extensive landscape offers to the view; the scenery of the ocean, so lovely, so majestic, and so tremendous, and the many pleasing varieties of the animal and vegetable kingdom, could never afford so much real satisfaction as the steams and noise of a ball-room, the insipid fiddling and squeaking of an opera, or the vexations and wranglings of a card-table!

But some minds there are of a different make, who, even in the early part of life, receive from the contemplation of nature a species of delight which they would hardly exchange for any other; and who, as

in it.

the rivulet and in the uproar of the ocean, in the flowery lawn and craggy mountain, in the murmur of radiance of summer and gloom of winter, in the thunder of heaven and in the whisper of the breeze, he still finds something to rouse or to soothe his imagination, to draw forth his affections, or to employ his understanding. And from every mental energy that is not attended with pain, and even from some of those that are, as moderate terror and pity, a sound mind derives satisfaction; exercise being equally necessary to the body and the soul, and to both equally productive of health and pleasure.

This happy sensibility to the beauties of nature should be cherished in young persons. It engages them to contemplate the Creator in his wonderful works; it purifies and harmonises the soul, and prepares it for moral and intellectual discipline; it supplies a neverfailing source of amusement; it contributes even to bodily health; and, as a strict analogy subsists between material and moral beauty, it leads the heart by an easy transition from the one to the other, and thus recommends virtue for its transcendent loveliness, and makes vice appear the object of contempt and abomination. An intimate acquaintance with the best descriptive poets-Spenser, Milton, and Thomson, but, above all, with the divine Georgic-joined to some practice in the art of drawing, will promote this amiable sensibility in early years; for then the face of nature has novelty superadded to its other charms, the passions are not preengaged, the heart is free from care, and the imagination warm and romantic.

But not to insist longer on those ardent emotions that are peculiar to the enthusiastic disciple of nature, may it not be affirmed of all men without exception, or at least of all the enlightened part of mankind, that they are gratified by the contemplation of things natural as opposed to unnatural? Monstrous sights please but for a moment, if they please at all; for they derive their charm from the beholder's amazement, which is quickly over. I have read, indeed, of a man of rank in Sicily who chooses to adorn his villa with pictures and statues of most unnatural deformity; but it is a singular instance; and one would not be much more surprised to hear of a person living without food, or growing fat by the use of poison. To say of anything that it is contrary to nature, denotes censure and disgust on the part of the speaker; as the epithet natural intimates an agreeable quality, and seems for the most part to imply that a thing is as it ought to be, suitable to our own taste, and congenial with our own constitution. Think with what sentiments we should peruse a poem in which nature was totally misrepresented, and principles of thought and of operation supposed to take place repugnant to everything

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