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formly produces a painful or a 'ridiculous effect : it does not even convey any conception of the passion itself, because its character is not known by the expression of any single moment, but by the rapid changes which result from the perturbed state into which the mind is thrown. It is hence that passion seems so ridiculous when seen at a distance, or without the cause of its existence being known, and it is hence, that if à human figure were petrified in any of the stages of passion, it would have so painful or insane an appearance.--As painting, therefore, cannot exhibit the rapid changes in which the real expression of passion consists, it should not attempt its delineation at all. Its real object is, the expression of emotion, of that more settled state of the human mind when the changes of passion are gone--when the countenance is moulded into the expression of permanent feeling, and the existence of this feeling is marked by the permanent expression which the features have assumed.

The greatest artists of ancient and modern times, accordingly, have selected, even in the representation of violent exertion, that moment of temporary repose, when a permanent expression is given to the figure. Even the Laocoon is not in the state of actual exertion : it is re

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presented in that moment when the last efforthas been made; when straining against an invincible power has given to the figure the aspect at last of momentary repose ; and when despair has placed its settled mark on the expression of the countenance. The Fighting Gladiator is not represented in a state of actual activity, but in that moment when he is preparing his mind for the future and final contest, and when, in this deep concentration of his powers, the pause which the genius of the artist has given, expresses more distinctly to the eye of the spectator the determined character of the combatant, than all that the struggle or agony of the combat itself could afterwards display.

The Grecian statues which were assembled in the Louvre may be considered as the most perfect works of human genius ; and after surveying the different schools of painting which it contains, we could not but feel those higher conceptions of human form, and of human nature, which the taste of ancient statuary had formed. It is not in the moment of action that it has represented man, but in the moment after action, when the tumult of passion has ceased, and all that is great or dignified in moral nature remains; and the greatest, works of modern art are those which approach

nearest to the same principle. It is not Hercules in the moment of earthly combat, when every muscle was swollen with the strength he was exerting, that they represent; but Hercules in the moment of transformation into a nobler being, when the exertion of mortality has passed, and his powers seem to repose in the tranquillity of Heaven: not Apollo, when straining his youthful strength in drawing the bow; but Apollo, when the weapon was discharged, watching, with unexulting eye, its resistless course, and serene in the enjoyment of immortal power: not St Michael when struggling with the Demon, and marring the beauty of angelic form by the violence of earthly passion, but St Michael in the moment of unruffled triumph, restraining the might of Almighty power, and radiant with the beams of eternal mercy.

CHAPTER VI.

PARIS-THE FRENCH CHARACTER AND

MANNERS.

We do not by any means consider ourselves as qualified to enter fully into the interesting subject of the national character of the French; but we shall venture to state, in this place, what appeared to us its most striking peculiarities, particularly as it is observed at Paris. Our stay in the capital was too short, and our opportunities of observation too limited, to entitle us' to speak with confidence; but it is to be remembered on the other hand, that there is a surprising uniformity of character among the French, which facilitates observation. The habit of constant intercourse in society, which

constitutes their greatest pleasure, and has made them, in their own opinion, the most polished nation on earth, appears not merely to have assimilated their manners to one another, in the manner so finely illustrated by the celebrated simile of Sterne*, but to have engendered a kind of conventional standard character, by which all those we observe are more or less modelled.

The most striking and formidable part of their general character is, the contempt for religion which is so frequently and openly expressed. In all countries there are men of a selfish and abstracted turn of mind, who are more disposed than others to religious argument and doubt; and in all, there are a greater number, whose worldly passions lead them to the neglect,

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See, Monsieur le Count ---said I, rising up, and laying some of King William's shillings on the table ---by jingling and rubbing one against another, for seventy years, in one body's pocket or another, they are become so much alike, you can scarce distinguish one shilling from another. The English, like ancient medals, keep more apart, and passing but few people's hands, preserve the first sharpnesses wbich the fine hand of nature has given them. They are not so pleasant to feel,---but, in return, the legend is so visible, that at the first look you see whose image and superscription they bear.” Sentimental Journey, Vol. II. p. 87.

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