Again, in the "Story of the Artist of the Beautiful," we breathe not a word about the impossibility of framing out of springs and wheels so marvellous a butterfly, that the seeming creature shall not only fly and move its antennae, and fold and display its wings like the living insect, but shall even surpass the living insect by showing a fine sense of human character, and refusing to perch on the hand of those who had not a genuine sentiment of beauty. The novelist shall put what springs and wheels he pleases into his mechanism, but the springs and wheels he places in the mechanist himself, must be those of genuine humanity, or the whole fiction falls to the ground. Now the mechanist, the hero of the story, the "Artist of the Beautiful," is described throughout as animated with the feelings proper to the artist, not to the mechanician. He is a young watchmaker, who, instead of plodding at the usual and lucrative routine of his trade, devotes his time to the structure of a most delicate and ingenious toy. We all know that a case like this is very possible. Few men, we should imagine, are more open to the impulse of emulation, the desire to do that which had never been done before, than the ingenious mechanist; and few men more completely under the dominion of their leading passion or project, because every day brings some new contrivance, some new resource, and the hope that died at night is revived in the morning. But Mr Hawthorne is not contented with the natural and very strong impulse of the mechanician; he speaks throughout of his enthusiastic artisan as of some young Raphael intent upon "creating the beautiful." Springs, and wheels, and chains, however fine and complicate, are not "the beautiful." He might as well suppose the diligent anatomist, groping amongst nerves and tissues, to be stimulated to _his_ task by an especial passion for the beautiful. The passion of the ingenious mechanist we all understand; the passion of the artist, sculptor, or painter, is equally intelligible; but the confusion of the two in which Mr Hawthorne would vainly interest us, is beyond all power of comprehension. These are the improbabilities against which we contend. Moreover, when this wonderful butterfly is made--which he says truly was "a gem of art that a monarch would have purchased with honours and abundant wealth, and have treasured among the jewels of his kingdom, as the most unique and wondrous of them all,"--the artist sees it crushed in the hands of a child and looks "placidly" on. So never did any human mechanist who at length had succeeded in the dream and toil of his life. And at the conclusion of the story we are told, in not very intelligible language,--"When the artist rose high enough to achieve the Beautiful, the symbol by which he made it perceptible to mortal senses became of little value to his eyes, while his spirit possessed itself in the enjoyment of the reality."