his design. The design was not bent to accommodate them, but they were translated and lifted up into the sphere of Art. A drawing of the Ionic capitals of the temple of Minerva Polias in the Erechtheum is accessible to nearly everybody. It is well to turn to it and see what use the Greeks, under such impulses, made of the Wild Honeysuckle and of SeaShells. Perhaps this capital affords one of the most instructive epitomes of Greek Art, inasmuch as in its composition use is made of so much that Nature gave, and those gifts are so tenderly modelled and wrought into such exquisite harmony and eloquent repose. Examine the volute : this is the nearest approach to a mathematical result that can be found in Grecian architecture; yet this very approximation is one of the greatest triumphs of Art. No geometrical rule has been discovered which can exactly produce the spirals of the Erechtheum, nor can they be found in shells. In avoiding the exuberance of the latter and the rigid formalism of the former, a work of human thought and Love has been evolved. Follow one of these volutes with your eye from its centre outwards, taking all its congeries of lines into companionship; you find your sympathies at once strangely engaged. There is an intoxication in the gradual and melodious expansion of these curves. They seem to be full of destiny, bearing you along, as upon an inevitable tide, towards some larger sphere of action. Ere you have grown weary with the monotony of the spiral, you find that the system of lines which compose it gradually leave their obedience to the centrifugal forces of the volute, and, assuming new relationships of parts, sweep gracefully across the summit of the shaft, and become presently entangled in the reversed motion of the other volute, at whose centre Ariadne seems to stand, gathering together all the clues of this labyrinth of Beauty. This may seem fanciful to one who regards these things as matters of formalism. But inasmuch as, to the studious eye of affection, they suggest human action and human sympathies, this is a proof that they had their birth in some corresponding affection. It is the inanimate body of Geometry made spiritual and living by the Love of the human heart. And when a later generation reduced the Ionic volutes to rule, and endeavored to inscribe them with the gyrations of the compass, they have no further interest for us, save as a mathematical problem with an unknown value equal to a mysterious symbol x, in which the soul takes no comfort. But true Art, using the volute, inevitably makes it eloquent with an intensity of meaning, a delicacy of expression, which awaken certain very inward and very poetic sentiments, akin to those from which it was evolved in the process of creation. When we reasonably regard the printed words of an author, we not only behold an ingenious collection of alphabetical symbols, but are placed by them in direct contact with the mind which brought them together, and, for the moment, our train of thought so entirely coincides with that of the writer, that, though perhaps he died centuries ago, he may be said to live again in us. This great work of architectural Art has the same immortal life; and though it may not so often find a heart capable of discerning the sentiment and intention of it under the outward lines, yet that heart, when found, is touched very deeply and very tenderly. We imbibe the creative impulse of the artist, and the beautiful thing has a new life in our affections. Studying it, we become artists and poets ere we are aware. The alphabet becomes a living soul. Under the volutes of this capital, and belting the top of the shaft, is a broad band of ornamentation, so happy and effectual in its uses, and so pure and perfect in its details, that a careful examination of it will, perhaps, afford us some knowledge of that spiritual essence in the antique Ideal out of which arose the silent and motionless Beauty of Greek marbles. Here are brought together the sentiments of certain vegetable productions of Greece, but sentiments so entirely subordinated to the flexure of the abstract line, that their natural significance is almost lost in a new and more human meaning. Here is the Honeysuckle, the wildest, the most elastic and undulating of plants, under the severe discipline of order and artistic symmetry, assuming a strict and chaste propriety, a formal elegance, which render it at once monumental and dignified. The harmonious succession and repetition of parts, the graceful contrasts of curves and the strict poise and balance of them, their unity in variety, their entire subjection to æsthetic laws, their serious and emphatic earnestness of purpose, these qualities combine in the creation of one of the purest works of Art ever conceived by the human mind. It is called the Ionic Anthemion, and suggests in its composition all the creative powers of Greece. Its value is not alone in the sensuous gratification of the eye, as with the Arabesque tangles of the Alhambra, but it is more especially in its complete intellectual expression, the evidence there is in it of thoughtfulness and judgment and deliberate care. The inventor studied not alone the plant, but his own spiritual relationships with it; and ere he made his interpretation, he considered how, in mythological traditions, each flower once bore a human shape, and how Daphne and Syrinx, Narcissus and Philemon, and those other idyllic beings, were eased of the stress of human emotions by becoming Laurels and Reeds and Daffodils and sturdy Oaks, and how human nature was thus diffused through all created things and was epigrammatically expressed in them. Like Faustus, he was permitted to look into her deep bosom, as into the bosom of a friend,to find his brothers in the still wood, in the air, and in the water, -to see himself and the mysterious wonders of his own breast in the movements of the elements. And so he took Nature as a figurative exponent of humanity, and extracted the symbolic truths from her productions, and used them nobly in his Art. Garbett, an English æsthetical writer, assures us that the Anthemion bears not the slightest resemblance to the Honeysuckle or any other plant, "being no representation of anything in Nature, but simply the necessary result of the complete and systematic attempt to combine unity and variety by the principle of gradation." But here he speaks like a geometer, and not like an artist. He seeks rather for the resemblance of form than the resemblance of spirit, and, failing to realize the object of his search, he endeavors to find a cause for this exquisite effect in pure reason. With equal perversity, Poe endeavored to persuade the public that his "Raven" was the result of mere æsthetical deductions! And here the old burden of our song must once again be heard: If we would know the golden secret of the Greek Ideal, we must ourselves first learn how to love with the wisdom and chastity of old Hellenic passion. We must sacrifice Taste and Fancy and Prejudice, whose specious superficialities are embodied in the errors of modern Art,- we must sacrifice these at the shrine of the true Aphrodite; else the modern Procrustes will continue to stretch and torture Greek Lines on geometrical beds, and the asthetic Pharisees around us will still crucify the Greek Ideal. [To be continued.] "And he, with many feelings, many thoughts, Made up a meditative joy, and found Religious meanings in the forms of Nature." A BAG OF MEAL. Saul isn't a common name. It is well, -for Saul is not an ordinary man, and Saul is my husband. We came in the cool of an evening upon the brink of the swift river that flows past the village of Skylight. The silence of a nearing experience brooded over my spirit; for Saul's home was a vast unknown to me, and I fain would have delayed awhile its coming. I wonder if the primal motion of unknown powers, like electricity, for instance, is spiral. Have you ever seen it winding out of a pair of human eyes, knowing that every fresh coil was a spring of the soul, and felt it fixing itself deeper and deeper in your own, until you knew that you were held by it? Perhaps not. I have: as when Saul turned to me in the cool of that evening, and drew my eyes away, by the power I have spoken of, from the West, where the orange of sunset was fading into twilight. I have felt it otherwise. A horse was standing, surrounded by snow; the biting winds were cutting across the common, and the blanket with which he had been covered had fallen from him, and lay on the snow. He had turned his head toward the place where it lay, and his eyes were fixed upon it with such power, that, if that blanket had been endowed with one particle of sensation, it would have got up, and folded itself, without a murmur, around the shivering animal. Such a picture as it was! Just then, I would have been Rosa Bonheur; but being as I was, I couldn't be expected to blanket a horse in a crowded street, could I? We were on the brink of the river. Saul drew my eyes away, and said, — "You are unhappy, Lucy." "No," I answered, -"not that." "That does not content me. May I ask what troubles you?" I aroused myself to reason. Saul is never satisfied, unless I assign a reason for any mood I am in. "Saul!" I questioned, "why do the mortals that we call Poets write, and why do non-Poets, like ourselves, sigh over the melancholy days of autumn, and why are we silent and thoughtful every time we think enough of the setting sun to watch its going down?" Simply because the winter coming is cold and dreary, in the one case, — and in the other, there are several reasons. Some natures dread the darkness; others have not accomplished the wishes or the work of the day." "I don't think you go below the surface," I ventured. "It seems to me that the entire reason is simple want of faith, a vague uncertainty as to the coming back of the dried-up leaf and flower, when they perish, and a fear, though unexpressed, that the sun is going down out of your sight for the last time, and you would hold it a little longer." "Would you now to-night, Lucy?" "If I could." My husband did not speak again for a long time, and gradually I went back into my individuality. We came upon an eminence outside the river-valley, and within sight of the village. "Is it well? do you like it?" asked |