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To work, the manifestation of accorded the an he has somewhat to material form, his perception is is of hand, his equipment with the means of expression, express that the he name of expression. his spirit in made sensible, art. It is not a display of t« skill ; it is not the reproduction of external forms or appearances some ] say, exist for itself: means. To cry does not even, as it ; it is " Art for Art's sake " ! Such a converse with the echo. but moves in a No itself. The ; artist is a message, a art circle, is is to definition and doubles upon for the artist's human the agent or sake.

Again, as the imitative picture involves not only the display of dexterity, but also likeness to the thing represented and the consequent possibility of recogniz- ing it immediately, so in the domain of music there is an order of composition which seems to aim at imitation, tive" music. A — the so-called "descrip- popular audience is de- lighted with the "Cats' Serenade," executed on the violins with overwhelming likeness [ -5] "Day to the reality, or with the Country/' in which the sun in the in the rises high notes, cocks crow, horses rattle the road, merrymakers frolic down on the green, come up in the horns, lightning plays in the violins, thunder crashes in the drums and cymbals, the merrymakers scatter in clouds the whole orchestra, the storm passes di- minuendo, and moon rises in the muted violins the full serenely into a twilight sky.

Supreme har- The workaday world with its bur- [3°] den of exigent « realities " has need of a Carlyleto declare that things are but a wonderful metaphor and the physical universe is the garment of the living God. In the realm of thought an Emerson, seer of transcendent vision, must come to restore his lows to their birthright, which is the fel- life of men do not easily pass the obvious and immediate. The child reads "Gulliver's Travels" or " The the As spirit. in life, so in art Pilgrim's Progress " for the story.