religion is the unconscious." The former part of this doctrine we doubt. It is true that the mere logical intellect is barren; it is also true that the mere intuitional is visionary; that it has little of coherence and less of certainty. In a healthy intellect the two must be joined. Intuition may discover, but only logic can establish. Logic must prove that what intuition took for an oasis is not a mirage. They must travel hand in hand, for they are only strong in union. Intuition may descry the goal, but logic must find the path. The second part of the statement is more true. Mr. Kingsley has taught it forcibly in "Westward Ho." The novelist has an immense superiority over the moralist in teaching such lessons, for he shows them in their relation to life. They are no longer doctrines, but examples, and become part of experience, none the less important because ideal. Mr. Kingsley contrasts his Eustace Leigh with his cousin Amyas; the former "trying to be good with all his might and main, according to certain approved methods and rules which he has got by heart :-the other, not even knowing whether he is good or not; but just doing the right thing without thinking about it, as simple as a little child, because the Spirit of God is with him."

True indeed it is that not only man's work, but man's spiritual growth, is greatly lessened by the practice of introspection. We analyze our motives; we feel our spiritual pulse daily; we are always doubting our own safety, instead of looking to Christ, and doing our work for God, trusting He will do His for us. Let us talk and think less about religion, and do our work more religiously. From some such thoughts, though of a more Pagan character, Mr. Carlyle deduces his favourite dictum" Work is Worship." True, no doubt, work is worship; but not the whole of worship -not worship if alone. The old reverers of saints, much as they are despised now, knew a fuller truth than Mr. Carlyle does. They pictured Saint Antony

as, weary with self-conflict, in the cool of the day, he saw an angel :

The vision at its labour sat,

Then knelt to pray, and rose up calm
To plait the fibres of a palm
Into a simple household mat.

So the angel alternated, work with

prayer.

"This do,

and thou shalt be saved,"-thus he said, and then his white wings winnowed the golden air, as he returned to God. Since Christ left earth, never was a truer sermon preached.

Who works not, eats not-not alone

Of natural bread, but bread of heaven;
God is a worker, and hath given

The task to thee that is thine own.

He loves to hear the humble prayer,
He loves to see the toiling hand ;
But prayerless toil is useless, and
The idler's worship empty air.

Though we have thus seen that Mr. Carlyle must be received with caution as a teacher, yet few whose minds are moderately established can read him without benefit. There is little that is absolutely new in his teaching, save in the new light cast upon certain truths, and the Herculean force with which they are pressed upon us. To Mr. Carlyle belongs this praise, that he has ever worked, as feeling his responsibility, with a high moral aim, and a noble earnestness. has taken a higher stand than most literary men, neither seeking to be admired, nor contented merely to amuse. Feeling the abuses of the age, he has endeavoured to cure, or to allay them.

He

It only remains to say a word or two on his style. It is Teutonic, broken, quaint, and terse. It can rise into passages of rare beauty and eloquence; it can flow as clear as any stream; it can be short, pithy, oracular; and it can, and sometimes does, form a hopeless imbroglio of bathos and rant, till you think the author must be an inmate of a madhouse.

PRE-RAPHAELITISM.

AN ESSAY.

(PUBLISHED IN THE "CAMBRIDGE TERMINAL MAGAZINE,” DECEMBER, 1858.)

NoT for his poetry alone does Wordsworth claim our gratitude, since, being truly vates, poet, and prophet, he not only gave us truth in his art, but prophesied truth in all art. He taught us to go to Nature in the spirit of little children, by no means thinking that we can improve upon her awfulness and beauty, but content to sing of her, and picture her as she truly is; and to study life in the same simple and reverent spirit, believing that the history of each man has a heroism and dignity of its own, more beautiful, because truer, than any fancied heroics, and, therefore, more worthy to be limned or sung. this thought, together with weariness of the artificial, and longing for the true in art, as Carlyle would say, "in all minds lay written, though invisibly, as with sympathetic ink; at his word it starts into visibility in all."

And

In this teaching then, Wordsworth was partly the guide, and partly the exponent, of national opinions and desires. It is a truth, though it seems a paradox, that every great teacher learns from the world what he teaches to the world. No wonder then, that Wordsworth's doctrines, after sustaining a few attacks (for critics are conservative), took root, and the fruit now appears in the fact that our chief poets and novelists are true to nature and to experience, and that our chief painters are Pre-Raphaelites.

For the reason of this not very happy name, we must glance briefly at the history of Christian Art.

At first it was merely lifeless imitation. Christian ideas were clothed in Greek forms. Cimabue could not emancipate himself from the tyranny of tradition. His pupil, Giotto, was more successful, and every succeeding painter saw from a higher stand-point, and drew with a more educated hand, till, in the time of Raphael, art attained its highest manifestation. Afterwards, nay, in the lifetime of Raphael, and through his mis-directed influence, decadence commenced. But to comprehend the fall, we must know from what that fall took place; must understand the principles of the Pre-Raphaelite painters, and the nature of their work. These may be considered under three heads,-Spirit, Thought, Execution.

Spirit. The motive of these men was not their own praise, but the praise of God, and of truth as His highest manifestation. They did not love and seek art for its own sake only, but as a means to promote the glory of God and the welfare of men. They knew that their lives and their works should be sacred, and they worked in the sight of God, and for God, thinking it no presumption to ask His aid, that in His light might be revealed the truth they sought to pourtray. With certain limits, Angelico may stand as a type of all the Pre-Raphaelite painters; he killed the sense with fasts, and quickened the soul with prayer; he knelt while he painted the Madonna; he sought inspiration from God, thinking that no work was too low for God to aid him in it; much less that glorious art of his, which, better than anything else, could teach truth to men in those days. And in all faith, yet with all humbleness, believing himself inspired, he never erased.

To this spirit may be referred the preference evinced by these men, of the thought to its execution. They desired that the picture might lead to adoration of the saint they painted, not to admiration of the ingenious painter; they sought to show to the world the fact,

not themselves; they lost themselves in their work, with sublimest self-denial.

Thought. The subjects they chose were, with scarce an exception, religious. This was mainly a result of the times; yet even had the church not been their patron, we can scarcely suppose their choice would have been different. Most of them were men of devout life, men accustomed to religious meditation, who loved and reverenced the holy forms they pictured. They were men of strong belief, and would naturally paint subjects, which, belonging to their religion, belonged to their daily life. They were not the men to paint classic fables, and scenes of mythologic baseness and lewdness. They chose sacred subjects, and, regarding these, their thoughts were sacred. No degrading associations lessen the glory, or weaken the impressiveness of their works. Other painters have chosen religious subjects, but have not treated them religiously, either in their intellectual pride, seeking to improve history (as when they made a queen of a simple Jewish girl), or shaming their subject with base associations (as when the Madonna is painted from some abandoned model), or using their religion as a show for art; or, most sad and sinful of all, cloaking, under the garb of piety, the grossest sensualism.

Execution. They painted conscientiously; they preferred truth to beauty; they strove to give the fact as it was, not as they thought it would look prettiest ; to give faithful rendering of what they saw, preferring memory to invention; and in respect to other facts, endeavouring to realize how they must have happened, and so pourtraying them. And in painting objects they were alike conscientious. If they painted a flower, they strove to make it like a flower;-they thought it no degradation to copy Nature. They felt it to be the highest honour to re-produce her beautiful works.

But there came a change, as has been said. Instead