masses, which, after the minutest mechanical division of which we are capable, appear atoms to us, the pride which we feel, in our chemical analyses, must seem as ludicrous, as to us would seem the pride of the blind, if one, who had never enjoyed the opportunity of beholding the sun, were to boast of having discovered, by a nice comparison of the changing temperature of bodies, that, during certain hours of the day, there passed over our earth some great source of heat. The addition of one new sense to us, who have already the inestimable advantages which vision affords, might probably, in a few hours, communicate more instruction, with respect to matter, than all which is ever to repay and consummate the physical labours of mankind,--giving, perhaps, to a single glance, those slow revelations of nature, which, one by one, at intervals of many centuries, are to immortalize the future sages of our race. “All philosophy,” says an acute foreign writer, “is founded on these two things,--that we have a great deal of curiosity, and very bad eyes. In astronomy, for example, if our eyes were better, we should then see distinctly, whether the stars really are, or are not, so many suns, illuminating worlds of their own; and if, on the other hand, we had less curiosity, we should then care a very little about this knowledge, which would come pretty nearly to the same thing. But we wish to know more than we see, and there lies the difficulty. Even if we saw _well_ the little which we do see, this would at least be some small knowledge gained. But we observe it different from what it is; and thus it happens, that a true philosopher passes his life, in not believing what he sees, and in labouring to guess what is altogether beyond his sight. I cannot help figuring to myself,” continues the same lively writer, “that nature is a great public spectacle, which resembles that of the opera. From the place at which we sit in the theatre, we do not see the stage quite as it is. The scenes and machinery are arranged, so as to produce a pleasing effect at a distance; and the weights and pullies, on which the different movements depend, are hid from us. We therefore do not trouble our heads with guessing, how this mechanical part of the performance is carried on. It is perhaps only some mechanician, concealed amid the crowd of the pit, who racks his brain about a flight through the air, which appears to him extraordinary, and who is seriously bent on discovering by what means it has been executed. This mechanic, gazing, and wondering, and tormenting himself, in the pit of the opera, is in a situation very like that of the philosopher in the theatre of the world. But what augments the difficulty to the philosopher, is, that, in the machinery which nature presents, the cords are completely concealed from him,--so completely indeed, that the constant puzzle has been to guess, what that secret contrivance is,