ng over its creations with clinging fondness,
'hating nothing that it maketh,' pruning, elaborating, and laboring to
gift with beauty the works of its patient hands, finishing every line in
love, that it too may feel its creations to be 'good.' For Love not only
gives wings, but also vital heat and life, to Genius.

Thus we again arrive at the fact that the two Divine attributes of Truth
and Love, in their finite form indeed, but still 'images,' are
absolutely necessary for the creation of any true work of Art. No work
can be great without their manifestation; unless they have brooded with
their silvery wings over its progress to perfection; and in exact
proportion to their manifestation will be its greatness. On these two
attributes in God repose in holy trust the universes He hath made; and
that which typifies or suggests His faithfulness and love to the soul
created to enjoy Him, must be a source, not only of Beauty, but of
Delight.

'For He made all things in wisdom; and Truth is perpetual and
immortal.'

'For Thou _lovest_ all things that are, and hatest none of the
things Thou hast made; for Thou didst not appoint or make anything,
hating it.'

We make no attempt to give an enumeration of the attributes on which
Beauty is based; we would rather induce the reader to examine his
Maker's great Book of Symbols for himself. We hope we have turned his
attention to the fact that every Letter in this sacred Language is full
of meaning; enough to induce him to investigate the glorious mysteries
of the '_Open Secret_.'

Whatever may be the decisions of the men of the senses, or the men of
the schools, let him fearlessly condemn any work in which he cannot find
wrought into its very heart suggestions or manifestations of the Divine
attributes, or an earnest effort on the part of its author, naive and
unconscious as it may be, to imitate the Spirit of the Great Artist.

We have placed the Rosetta stone of Art, with its threefold inscriptions
in Sculpture, Painting and Music, with their union or _resume_ in
Poetry, before him; we have given him the key to some of its wondrous
hieroglyphics; let him study the remaining letters of this mystical
alphabet for himself! These inscriptions are indeed trilingual,
phonetic, and sacred, yet the simple and loving soul may decipher them
without the genius of Champollion; their meaning is written within it.
It will readily learn to connect the sign with the