When we consider the remote period at which such edifices were constructed, we are at first surprised by two qualities which they exhibit, sometimes united, sometimes apart--magnitude and beauty. Magnitude always exerts a great influence on the senses; and without seeking to explain how such an effect is produced, it is evident from history that an admiration of the colossal is especially characteristic of the human mind in the early stages of its development. Accordingly, and perhaps also from a recollection of gigantic works before the Flood, the first undertaking of the united race of Postdiluvians was the vastly-imagined Tower of Babel. The first family of man in Europe--the Pelasgi--mute and inglorious in everything else, have left samples of an enormous architecture, whose ruins to this day exist under the title of Cyclopean. This peculiarity is not confined to the shores of the Mediterranean. In the remote East, and in the long undiscovered regions of the West, in Ceylon and in Mexico, the aboriginal races have left their sole memorials in similar masses of masonry. With them size seems to have been everything; it was magnitude which then fascinated the imagination. Even when men are well advanced in civilisation, the same spirit is perceptible among them, and a love of exaggeration, the frequent use of hyperbole, characterises the early literature of all nations. From the exquisite beauty of much of the architecture, poetry, and sculpture that have come down to us from antiquity, the singular fact is apparent, that the fine arts reached perfection at a time when those conducive to the material comforts were still in infancy. In those days the race of man was yet young; and youth in the species, as in the individual, is the season of the Beautiful. It was a lively love and susceptibility to the charms of nature that peopled the woods and waters, the sunny skies and the sparkling sea, with deities in sympathy with man--that saw in the rainbow a messenger from heaven to earth, and in the thunder of the tempest the wrath of the Most High. The vague ever excites interest; and the mysterious phenomena of nature contributed to fix their attention on her aspects, and consequently on her beauties. Cœlum and Terra, heaven and earth--in one word, Nature was the great goddess of paganism. She was the great parent of their Pantheon--from her all other gods drew birth; they were personifications of her powers, and, till the days of the Greeks, it was under forms of her that they were worshipped. This susceptibility to beauty in nature was the parent of the beautiful in art. In stone, in bronze, on the canvas, they strove to reproduce the perfection of form that they beheld in select nature--to attain the same harmony of parts--and thus to awaken in the beholder corresponding emotions of pleasure. Thus art, in different countries, varied with the aspects of nature. The monotonous vastness and horizontal lines of the scenery