and mostly with no apparent consciousness of each other’s proximity. But in the paintings since produced, faulty as many of them are in this respect, there is always a more or less manifest co-ordination of parts—an arrangement of attitudes, expressions, lights, and colours, such as to combine the picture into an organic whole; and the success with which unity of effect is educed from variety of components, is a chief test of merit. In music, progressive integration is displayed in still more numerous ways. The simple cadence embracing but a few notes, which in the chants of savages is monotonously repeated, becomes among civilized races, a long series of different musical phrases combined into one whole; and so complete is the integration, that the melody cannot be broken off in the middle, nor shorn of its final note, without giving us a painful sense of incompleteness. When to the air, a bass, a tenor, and an alto are added; and when to the harmony of different voice-parts there is added an accompaniment; we see exemplified integrations of another order, which grow gradually more elaborate. And the process is carried a stage higher when these complex solos, concerted pieces, choruses, and orchestral effects, are combined into the vast ensemble of a musical drama; of which, be it remembered, the artistic perfection largely consists in the subordination of the particular effects to the total effect. Once more the Arts of literary delineation, narrative and dramatic, furnish us with parallel illustrations. The tales of primitive times, like those with which the story-tellers of the East still daily amuse their listeners, are made up of successive occurrences that are not only in themselves unnatural, but have no natural connexion: they are but so many separate adventures put together without necessary sequence. But in a good modern work of imagination, the events are the proper products of the characters working under given conditions; and cannot at will be changed in their order or kind, without injuring or destroying the general effect. And further, the characters themselves, which in early fictions play their respective parts without showing us how their minds are modified by each other or by the events, are now presented to us as held together by complex moral relations, and as acting and re-acting upon each other’s natures.