The art of a musical composer consists in the ability with which he succeeds in producing a certain class of emotions which he aims to awaken. The more finished productions of this art are never relished till long observation and experience enable the listener to judge of the nature of the design, and with how much success the composer has succeeded in effecting it. Music, when adapted to certain words, has its nature and design more clearly portrayed, and in such productions it is easier to judge of the success of the composer. _Of Color._ There are no colors which ordinarily excite so strong an emotion as to be called sublime. The deep black of mourning and the rich purple of royalty approach the nearest to this character. That colors acquire their power in awakening agreeable or disagreeable emotions simply from the emotions which have ordinarily existed in connection with them, appears from the fact that the associations of mankind are so exceedingly diverse on this subject. What is considered a dignified and solemn color in one nation is tawdry and vulgar in another. Thus, with us, _yellow_ is common and tawdry, but among the Chinese it is a favorite color. Black, with us, has solemn and mournful associations, but in Spain and Venice it is an agreeable color. White, in this country, is beautiful, as the emblem of purity and innocence, but in China it is the sorrowful garb of mourning. _Of Forms._ Forms that awaken emotions of sublimity are such as have been associated with emotions of danger, terror, awe, or solemnity. Such are military ensigns, cannon, the hearse, the monument of death, and various objects of this kind. Those forms which distinguish bodies that have great strength, or which are enduring in their nature, awaken the same class of emotions. Thus the Gothic castle, the outline of rocks and mountains, and the form of the oak, are examples. Bodies often appear sublime from the mere circumstance of size, when compared with objects of the same kind. Thus the pyramids of Egypt are an example where relative size, together with their imperishable materials, awakens emotions of sublimity. The ideas of beauty of form depend almost entirely on their fitness to the object for which they are designed, and on many casual associations with which they are connected. _Of Motion._ All motion that awakens sublime ideas is such as conveys the notion of great force and power. Motions of this kind are generally in straight or angular lines. Such motions are seen in the working of machinery, and in the efforts of animal nature. Quick motion is more sublime than slow. Motions that awaken ideas of beauty are generally slow and curving. Such are the windings of the quiet rivulet, the gliding motion of birds through the air, the waving of trees, and the curling of vapor.