he laws of a narrow priesthood, and hedged about by a superstitious religion which even laid down rules for art?

For these reasons we know something of Egyptian art and nothing of Egyptian artists, and from all these influences it follows that Egyptian painting is little more than an illuminated alphabet or a child's picture-history. In the hieroglyphics, or writing characters of Egypt, it often occurs that small pictures of certain animals or other objects stand for whole words, and it appears that this idea was carried into Egyptian painting, which by this means became simply a picture chronicle, and never reached a point where it could be called truly artistic or a high art.

ASSYRIA.

The remains of Assyrian painting are so few that they scarcely serve any other purpose than to prove that the Assyrians were accustomed to decorate their walls with pictures. Sometimes the walls were prepared with plaster, and the designs were painted on that; in other cases the painting was done upon the

lk,Wherewith the students shall be bravely clad;I'll levy soldiers with the coin they bring,And chase the Prince of Parma from our land,And reign sole king of all the provinces;Yea, stranger engines for the brunt of war,Than was the fiery keel at Antwerp's bridge,I'll make my servile spirits to invent.

Enter VALDES and CORNELIUS.

Come, German Valdes, and Cornelius,And make me blest with your sage conference.Valdes, sweet Valdes, and Cornelius,Know that your words have won me at the lastTo practice magic and concealed arts:Yet not your words only, but mine own fantasy,That will receive no object; for my headBut ruminates on necromantic skill.Philosophy is odious and obscure;Both law and physic are for petty wits;Divinity is basest of the three,Unpleasant, harsh, contemptible, and vile:'Tis magic, magic, that hath ravish'd me.Then, gentle friends, aid me in this attempt;And I, that have with concise syllogismsGravell'd the pastors of the German church,And made the flowering pri

ely, Plot, Character, Diction, Thought, Spectacle, Song. Two of the parts constitute the medium of imitation, one the manner, and three the objects of imitation. And these complete the list. These elements have been employed, we may say, by the poets to a man; in fact, every play contains Spectacular elements as well as Character, Plot, Diction, Song, and Thought.

But most important of all is the structure of the incidents. For Tragedy is an imitation, not of men, but of an action and of life, and life consists in action, and its end is a mode of action, not a quality. Now character determines men's qualities, but it is by their actions that they are happy or the reverse. Dramatic action, therefore, is not with a view to the representation of character: character comes in as subsidiary to the actions. Hence the incidents and the plot are the end of a tragedy; and the end is the chief thing of all. Again, without action there cannot be a tragedy; there may be without character. The tragedies of most of

ttering a legion of antiquated and house-bred notions and whims to the four winds for an airing-and so the evil cure itself.

How womankind, who are confined to the house still more than men, stand it I do not know; but I have ground to suspect that most of them do not STAND it at all. When, early in a summer afternoon, we have been shaking the dust of the village from the skirts of our garments, making haste past those houses with purely Doric or Gothic fronts, which have such an air of repose about them, my companion whispers that probably about these times their occupants are all gone to bed. Then it is that I appreciate the beauty and the glory of architecture, which itself never turns in, but forever stands out and erect, keeping watch over the slumberers.

No doubt temperament, and, above all, age, have a good deal to do with it. As a man grows older, his ability to sit still and follow indoor occupations increases. He grows vespertinal in his habits as the evening of life approaches, till a

of the race. All other declarations prior to this were but for dynasties, or were ethnic at most. But those men swept the horizon of humanity. These men called forth, as it were, the oncoming centuries of time, and in their presence declared that all men are created free and equal.

They not only declared the ultimate truth of human rights, but they exhausted the right of revolution. They created a constitution founded upon the will of the people, based upon our great declaration of rights, embracing man's inalienable right to life, liberty, and happiness. The instrument which their genius created was left amendable by the oncoming wants of time, modified in subordinate relations which might be suggested by emergencies and the unfolding of our race. Here then are the great fingers of prophecy pointing to our future.

And we have been equally favored in our population, whether we take the Puritans who landed in New England, the Dutch who landed in New York, or the English who crowded Maryland and

rently in token of approval and assent to all this, and bent an inquisitorial interrogative gaze upon his visitor.

"I have come to trouble you a second time, Krestyan Ivanovitch," began Mr. Golyadkin, with a smile, "and now I venture to ask your indulgence a second time...." He was obviously at a loss for words.

"H'm... Yes!" pronounced Krestyan Ivanovitch, puffing out a spiral of smoke and putting down his cigar on the table, "but you must follow the treatment prescribed to you; I explained to you that what would be beneficial to your health is a change of habits.... Entertainment, for instance, and, well, friends - you should visit your acquaintances, and not be hostile to the bottle; and likewise keep cheerful company."

Mr. Golyadkin, still smiling, hastened to observe that he thought he was like every one else, that he lived by himself, that he had entertainments like every one else... that, of course, he might go to the theatre, for he had the means like every one else, that he spent

o go to such lengths, and I also hate you and stillmore--because you are so necessary to me. For the time being Iwant you, so I must keep you."

Then she made a movement to rise. Her tone had sounded veryangry. Indeed, of late her talks with me had invariably ended ona note of temper and irritation--yes, of real temper.

"May I ask you who is this Mlle. Blanche?" I inquired (since Idid not wish Polina to depart without an explanation).

"You KNOW who she is--just Mlle. Blanche. Nothing further hastranspired. Probably she will soon be Madame General--that is tosay, if the rumours that Grandmamma is nearing her end shouldprove true. Mlle. Blanche, with her mother and her cousin, theMarquis, know very well that, as things now stand, we areruined."

"And is the General at last in love?"

"That has nothing to do with it. Listen to me. Take these 700florins, and go and play roulette with them. Win as much for meas you can, for I am badly in need of money.

So saying, she called Nadia back to

To save their fleet their last efforts they try,
And stones and darts in mingled tempests fly.
As when sharp Boreas blows abroad, and brings
The dreary winter on his frozen wings;
Beneath the low-hung clouds the sheets of snow
Descend, and whiten all the fields below:
So fast the darts on either army pour,
So down the rampires rolls the rocky shower:
Heavy, and thick, resound the batter'd shields,
And the deaf echo rattles round the fields.
With shame repulsed, with grief and fury driven,
The frantic Asius thus accuses Heaven:
"In powers immortal who shall now believe?
Can those too flatter, and can Jove deceive?
What man could doubt but Troy's victorious power
Should humble Greece, and this her fatal hour?
But like when wasps from hollow crannies drive,
To guard the entrance of their common hive,

and; his face expressed horror and disgust, yet there was in it also the mark of imperious command and confident power. The left half of the picture was the strangest, however. The interest plainly centred there.

On the pavement before the throne were grouped four soldiers, surrounding a crouching figure which must be described in a moment. A fifth soldier lay dead on the pavement, his neck distorted, and his eye-balls starting from his head. The four surrounding guards were looking at the King. In their faces, the sentiment of horror was intensified; they seemed, in fact, only restrained from flight by their implicit trust in their master. All this terror was plainly excited by the being that crouched in their midst.

I entirely despair of conveying by any words the impression which this figure makes upon anyone who looks at it. I recollect once showing the photograph of the drawing to a lecturer on morphology--a person of, I was going to say, abnormally sane and unimaginative habits of mind. He

ttered nerves, Professor Maxon sailed with his daughter for a long ocean voyage, which he hoped would aid him in rapid recuperation, and permit him to forget the nightmare memory of those three horrible days and nights in his workshop.

He believed that he had reached an unalterable decision never again to meddle with the mighty, awe inspiring secrets of creation; but with returning health and balance he found himself viewing his recent triumph with feelings of renewed hope and anticipation.

The morbid fears superinduced by the shock following the sudden demise of the first creature of his experiments had given place to a growing desire to further prosecute his labors until enduring success had crowned his efforts with an achievement which he might exhibit with pride to the scientific world.

His recent disastrous success had convinced him that neither Ithaca nor any other abode of civilization was a safe place to continue his experiments, but it was not until their cruising had brought the