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ANTIQUITY-Consecrates.

Time consecrates;

And what is gray with age becomes religion.
Schiller.

ANTIQUITY-Once New.

That task, which as we follow or despise,
The eldest is a fool, the youngest wise;
Which done, the poorest can no wants endure,
And which not done, the richest must be poor.
АРАТНУ.

He hears no more

All that we now deem of antiquity, at one time were new; and what we now defend by Than rocks, when winds and waters roar. examples on a future day will stand as precedents.

ANTIQUITY-Nothing Old in.

Tacitus.

APOLOGY.

I do confess the imperfect performance.

Pope.

Creech.

Congreve.

There may be some truth in what Solomon said, "There is nothing new under the sun;" APOSTASY-Characteristics of. but there is far more truth in what we say, "There is nothing old under the sun." Nature is preserved by her elements in a perpetual youth, far more wonderful than that of Ninon d'Enclos-and her favoured lovers are the Poets. Yet to the old all things seem old; and blockheads are aged at thirty, as you may perceive from the exaggerated drivel and dotage of their drawling speech. But Genius is ever young, like the star of Jove, "so beautiful and large;" and therefore this earth-this world-shall never want her worshippers. Professor Wilson.

Speaking lies in hypocrisy, having their conscience seared as with a hot iron.

Forbidding to marry, and commanding to abstain from meats, which God hath created to be received with thanksgiving of them which believe and know the truth. St. Paul.

ANXIETY-the Poison of Life.
Anxiety is the poison of human life. It is
the parent of many sins, and of more miseries.
In a world where everything is doubtful, where
you may be disappointed, and be blessed in
disappointment,-what means this restless stir
and commotion of mind? Can your solicitude
alter the cause or unravel the intricacy of
human events? Can your curiosity pierce
through the cloud which the Supreme Being
hath made impenetrable to mortal eye? To
provide against every important danger by
the employment of the most promising means,
is the office of wisdom; but at this point
wisdom stops.
Blair.

It is not work that kills men; it is worry.
Work is healthy you can hardly put more
upon a man than he can bear. Worry is rust
upon the blade. It is not the revolution that
destroys the machinery, but the friction. Fear
secretes acids; but love and trust are sweet
juices.
Henry Ward Beecher.
| ANXIETY-for any Prospective Object.
Long as to him who works for debt, the day,
Long as the night to her whose love's away,
Long as the year's dull circle seems to run,
When the brisk minor pants for twenty-one;
So slow th' unprofitable moments roll

That lock up all the functions of my soul,
That keep me from myself, and still delay
Life's instant business to a future day;

APOSTASY-Crime of.

The soul once tainted with so foul a crime,
No more shall glow with friendship's hallow'd

ardour;

Those holy beings whose superior care
Guides erring mortals to the path of virtue,
Affrighted at impiety like thine,

Resign their charge to baseness and to ruin.
Johnson.
APOSTASY-Error of.

Apostate, still thou err'st, nor end wilt find
Of erring, from the paths of truth remote.
APOSTASY-Guilt of.

Milton.

Not pow'r I blame, but pow'r obtain'd by crime:
Angelic greatness is angelic virtue.
Amidst the glare of courts, the shout of armies,
Will not th' apostate feel the pangs of guilt,
And wish too late for innocence and peace?
Curst as the tyrant of th' infernal realms
With gloomy state, and agonizing pomp.
Johnson.

APOSTATE-a Religious.

Claudius.

His confidence in heaven
Sunk by degrees.
APPEARANCES-often Deceitful.
The world is still deceived with ornament.
In law, what plea so tainted and corrupt,
But, being season'd with a gracious voice,
Obscures the show of evil? In religion,

What damned error, but some sober brow
Will bless it, and approve it with a text,
Hiding the grossness with fair ornament?
There is no vice so simple but assumes,
Some mark of virtue on its outward parts.
How many cowards, whose hearts are all as
false

As stairs of sand, wear yet upon their chins

APPEARANCES.

The beards of Hercules and frowning Mars,
Who, inward search'd, have livers white as milk!
And these assume but valour's excrement,
To render them redoubted. Look on beauty,
And you shall see 'tis purchased by the weight;
Which therein works a miracle in nature,
Making them lightest that wear most of it:
So are those crisped, snaky, golden locks,
Which make such wanton gambols with the
wind,

Upon supposed fairness often known

To be the dowry of a second head;

The skull that bred them, in the sepulchre.
Thus ornament is but the guiled shore

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A slowness to applaud betrays a cold temper, or an envious spirit. Hannah More.

To a most dangerous sea; the beauteous scarf APPLAUSE-of the Multitude.
Veiling an Indian beauty; in a word,

The seeming truth which cunning time put on
To entrap the wisest.

Shakspeare.

The tinsel glitter, and the specious mien,
Delude the most-few pry behind the scene.
Phaedrus.

APPEARANCES-False.

Oh, how hast thou with jealousy infected
The sweetness of affiance! Show men dutiful?
Why, so didst thou: Seem they grave and
learned?

Why, so didst thou: Come they of noble
family?

Why, so didst thou: Seem they religious?
Why, so didst thou: Or are they spare in diet;
Free from gross passion, or of mirth or anger;
Constant in spirit, not swerving with the blood;
Garnish'd and deck'd in modest complement;
Not working with the eye, without the ear,
And, but in purged judgment, trusting neither!
Such, and so finely bolted, didst thou seem:
And thus thy fall hath left a kind of blot,
To mark the full-fraught man, and best indeed,
With some suspicion.

Shakspeare.

A miser grows rich by seeming poor; an extravagant man grows poor by seeming rich. Shenstone.

To save his only care;

So things seem right, no matter what they are
Churchill.

APPEARANCES-not always a Guide.
Judge not; the workings of his brain

And of his heart thou canst not see;
What looks to thy dim eyes a stain,
In God's pure light may only be
A scar, brought from some well-won field,
Where thou wouldst only faint and yield.
The look, the air, that frets thy sight,
May be a token, that below
The soul has closed in deadly fight
With some infernal fiery foe,

Such murmur fill'd

Th' assembly, as when hollow rocks retain
The sound of blustering winds, which all night
long

Had roused the sea; now with hoarse cadence
lull
Seafaring men o'er-watched, whose bark by
chance,

Or pinnace, anchors in a craggy bay
After the tempest. Such applause was heard.
Milton.

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Nor Eolus' sharp blast could worke them any wrong. Spenser. ARCHITECTURE-Historical Value of. Architecture is the printing press of all ages, and gives a history of the state of the society in which it was erected, from the cromlech of the Druids to those toy-shops of royal bad taste-Carlton House and the Brighton Pavilion. The Tower and Westminster Abbey are glorious pages in the history of time, and tell the story of an iron despotism, and the cowardice of unlimited power. Lady Morgan. ARGUMENT-Inutility of.

It is in vain

(I see) to argue 'gainst the grain;
Or, like the stars, incline men to
What they're averse themselves to do;
For when disputes are wearied out,
'Tis int'rest still resolves the doubt.

ARGUMENT-Noisy.

If the bells have any sides, the clapper will find them. Ben Jonson.

ARISTOCRACY-must Exist.

the mirror to the past, he bids the immortal shapes rise up with their crowns upon them to rebuke ignorance, silence impeachment. A fine array of names, no doubt; but windmills, not giants: though the crusade is against giants, not against windmills. Of the great dead under whose shields Lord Lindsay would place the peerage, not one was born a peer, not one would have become a peer in the course of direct succession. Only two-Russell and Wellington-were sons of peers. Some of the rest were very humbly born. Latimer was the son of a poor yeomen; the Bacons were small squires in Suffolk, the Raleighs in Devon. Blake's father was a merchant, Cromwell's a maltster. Neither the Hampdens nor the Churchills were noble. Nor were the Ridleys. Nelson's father was a poor parson. Lord Peter swears that, not only are the brown loaves mutton, but very good mutton. Butler. Seven-year-old south down, sir! old families, sir! the noble old aristocratic blood, sir! the families, sir, that fight, and write, and rule the country, sir! Yet all this while, apart from controversy, no one knows better than Lord Lindsay, that even had his illustrious dead each descended from long lines of Norman earls, instead of from yeomen, parsons, barristers and squires, his list would prove just nothing. A dozen cases, with no exception, might justify a rough kind of theory. A dozen cases, with a dozen exceptions, go to the wall. To prove anything he must prove everything. Yet some of the very greatest are left blank. Shakspeare, Milton, Newton, Johnson, Burke and Watt, stand in the very foremost rank of Englishmen-stand in mass long before those named by Lord Lindsay. These men are England. Yet who can name the great-grandfather of any one of these? Their fathers' names are scarcely known, their mothers' not always. Shakspeare's father was a butcher, Milton's a scrivener, Newton's a squireen, Johnson's a bookseller, Burke's an attorney, and Watt's a ship-chandler. Of the antecedents of these men we know as little as of the foundations of Snowdon, Helvellyn, or the Surrey hills. Hepworth Dixon.

Amongst the masses-even in revolutionsaristocracy must ever exist; destroy it in nobility, and it becomes centred in the rich and powerful Houses of the Commons. Pull them down, and it still survives in the master and foreman of the workshop. Guizot. ARISTOCRACY-the True.

I What a dull world this would be, if men I were not allowed to see things by a light of their own! Here are two gentlemen, each of whom, we fancy, knows more about English history than nine in every ten persons you meet at your club or in your friend's house, so strangely denying their own knowledge, as to make sport, not merely for the literary Philistines, but for grocers' boys and ladies' maids. Lord Lindsay, "a man of letters as well as an aristocrat," replies to the impeachment of his order :-flinging away in a fashion to remind warriors of Don Quixote, and logicians of Lord Peter. He mistakes windmills for giants, and swears the brown loaf is good mutton. Mr. Bright makes observations on It is a shallow criticism that would define the genius of an hereditary peerage, conclud- poetry as confined to literary productions in ing, with peremptory emphasis, that such a rhyme and metre. The written poem is only peerage cannot for ever exist in a free country. poetry talking, and the statue, the picture, What does Lord Lindsay answer? "Look at and the musical composition, are poetry acting. history," he cries, "and you will there find Milton and Goethe, at their desks, were not that the institution you decry has been the more truly poets than Phidias with his chisel, salvation of England. Who does your work-Raphael at his easel, or deaf Beethoven bendfights your battles-writes your books-guides ing over his piano, inventing and producing you in storm and darkness?" And holding strains which he himself could never hope to

ART-Poetry of.

ART.

hear. The love of the ideal, the clinging to and striving after first principles of beauty, is ever the characteristic of the poet, and whether he speak his truth to the world through the medium of the pen, the perfect statue, or the lofty strain, he is still the sharer in the same high nature. Next to blind Milton describing Paradise, that same Beethoven composing symphonies and oratorios is one of the finest things we know. Milton saw not, and Beethoven heard not; but the sense of beauty was upon them, and they fain must speak. Arts may be learned by applicationproportions and attitudes may be studied and repeated-mathematical principles may be, and have been, comprehended and adopted; but yet there has not been hewn from the marble a second Apollo, and no measuring by compasses will ever give the secret of its power. The ideal dwelt in the sculptor's mind, and his hands fashioned a statue which yet teaches it to the world.

ART-Power of.

Ruskin.

The power, whether of painter or poet, to describe rightly what he calls an ideal thing, depends upon its being to him not an ideal but a real thing. No man ever did or ever will work well, but either from actual sight, or sight of faith. Ibid.

ART-Religiousness of.

ART.

variance; but beyond and above all such party strifes, they are attracted and united by a taste for the beautiful in art. It is a taste at once engrossing and unselfish, which may be indulged without effort, and yet has the power of exciting the deepest emotions-a taste able to exercise and to gratify both the nobler and softer parts of our nature-the imagination and the judgment, love of emotion and power of reflection, the enthusiasm and the critical faculty, the senses and the reason. Guizot. ART-Symbolic.

It is an incarnation of fancy, and is a sort of petrified poetry, or concrete rhetoric. It is the blossom of the Art-tree, whose root is Thought, and whose trunk is Imagination. It is inventive, imitational, and composite. Gothic is imitational, Greek inventional, and Byzantine composite. Egyptian ornament is thoughtful, and always allegorical. The Assyrian is still quainter, simpler, and more primitive. The Greek revels in noble sweeping curves and in fretted foliage, highly conventionalized. The Oriental types in their art lost their symbolic character, and became enriched and idealized by fancy; harmony and a sweet grace are in every line. The Etruscan is rude and Asiatic, with Greek luxuriance. The Roman is strong and vigorous, leafy, luxurious, and voluptuous. The Byzantine is barbarian, rich, knotted, linked, and studded like embroidery. The Moorish is the poetry of geometry, and the mathematics of colour, varied and changeful as Nature. The Gothic is Nature subdued, and limited by rules and space. The Indian is varied, strange in its blendings and studied intermixtures, arranged by the instinct of men of a hot climate; but the Persian is the most graceful and poetical of all oriental work; gorgeous and yet delicate in colour, it is full of the broadest effects of contrasting hues, and wreathed and blossomed with threads of flowers, bright as those of a missal. In the harmonies of dyes there are invention and imagination. Let our students follow Nature boldly and lovingly, but not Blackie. servilely,-learning to compose as she does,— not following her laws without laying down his own. Above all, let him remember, that ornamentation is to art what words are thought, and that if design and architecture are dead, no ornamentation, however beautiful, can give them life. It will be at the best but a wreath of flowers round the pale brow of the corpse.

Never is piety more unwise than when she casts beauty out of the church, and by this excommunication forces her fairest sister to become profane. It is the duty of religion not to eject, but to cherish and seek fellowship with every beautiful exhibition which delights, and every delicate art which embellishes human life. So, on the other hand, it is the duty of art not to waste its high capabilities in the imitation of what is trivial, and in the curious adornment of what has only a finite significance. The highest art is always the most religious; and the greatest artist is always a devout man. A scoffing Raphael or Michael Angelo is not conceivable.

ART-the highest Sagacity.

The enemy of art is the enemy of nature. Art is nothing but the highest sagacity and exertion of human nature;-and what nature will he honour who honours not the human ? Lavater.

ART-Study of.

The study of art possesses this great and peculiar charm, that it is absolutely unconnected with the struggles and contests of ordinary life. By private interests, by political questions, men are deeply divided and set at

O powers
Illimitable !-'tis but the outer hem
Of God's great mantle our poor stars do gem.

to

Ruskin.

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In no circumstance whatever can man be comfortable without art. The butterfly is independent of art, though it is only in sunshine that it can be happy. The beasts of the field can roam about by day, and couch by night on the cold earth, without danger to health or sense of misfortune. But man is miserable and speedily lost so soon as he removes from the precincts of human art, without his shoes, without his clothes, without his dog and his gun, without an inn or a cottage to shelter him by night. Nature is worse to him than a stepmother-he cannot love her; she is a desolate and a howling wilderness. He is not a child of nature like a hare. She does not provide him a banquet and a bed upon every little knoll, every green spot of earth. She persecutes him to death, if he do not return to that sphere of art to which he belongs, and out of which she will show him no mercy, but be unto him a demon of despair and a hopeless perdition. Ruskin.

ARTIFICE-Employment of.

The ordinary employment of artifice is the mark of a petty mind; and he who uses it to cover himself in one place, uncovers himself in another. La Rochefoucauld.

ARTIFICE-in Fashionable Life.

There is a certain artificial polish, a common-place vivacity, acquired by perpetually mingling in the beau monde, which, in the commerce of the world, supplies the place of a natural suavity and good humour, but is purchased at the expense of all original and sterling traits of character. By a kind of fashionable discipline, the eye is taught to brighten, the lip to smile, and the whole countenance to irradiate with the semblance of friendly welcome, while the bosom is unwarmed by a single spark of genuine kindness and good will. Washington Irving.

ARTIST-Attributes of the.

The hair of the artist turns white, but his eye shines clearer than ever, and we feel that age brings him maturity, not decay. So it would be with all, were the springs of immortal refreshment but unsealed within the soul; there they would see, from the lonely chamber window, the glories of the universe, or, shut in darkness, be visited by angels.

M. Fuller.

ARTIST-Duties of the.

A true artist should put a generous deceit on the spectators, and effect the noblest designs by easy methods. Burke. ARTIST-Life of the.

than action; he has to speak of the struggles The life of an artist is one of thought rather

of mind rather than the conflict of circumstances. Hone.

ARTIST-Qualities of the.

He is a being of deep reflection-one That studies nature with intensest eye;

sun

Watching the works of air, earth, sea, and
Cause and effect. The elements which run,
Their motion, altitude, their form, their dye-
With vivid study, till his pencil makes
Or stagnant are, he traces to their source,
A new creation in his heart he takes,
A perfect likeness; or, by fancy's force,
And matches nature's progress in his course
Towards glory. In the abstractions of the
mind,

Harmony, passion, and identity,

His genius, like the summer sun, is shrined, Till beauty and perfection he can see.

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ASCETICISM-a voluntary Humiliation.

The men who have embraced such voluntary humiliation have too commonly accounted it quite proper to indemnify themselves by deriving from the meagreness of their diet

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