life, more manifest, invariably, in those of more serious and determined mind, (I use the word serious, not as being opposed to cheerful, but to trivial and volatile;) but, I think, marked and unfailing even in those of the least thoughtful dispositions. I am willing to let it rest on the determination of every reader, whether the pleasure which he has received from these effects of calm and luminous distance be not the most singular and memorable of which he has been conscious, whether all that is dazzling in color, perfect in form, gladdening in expression, be not of evanescent and shallow appealing, when compared with the still small voice of the level twilight behind purple hills, or the scarlet arch of dawn over the dark, troublous-edged sea. Sec. 5. Whereto this instinct is traceable. Let us try to discover that which effects of this kind possess or suggest, peculiar to themselves, and which other effects of light and color possess not. There _must_ be something in them of a peculiar character, and that, whatever it be, must be one of the primal and most earnest motives of beauty to human sensation. Do they show finer characters of form than can be developed by the broader daylight? Not so; for their power is almost independent of the forms they assume or display; it matters little whether the bright clouds be simple or manifold, whether the mountain line be subdued or majestic, the fairer forms of earthly things are by them subdued and disguised, the round and muscular growth of the forest trunks is sunk into skeleton lines of quiet shade, the purple clefts of the hill-side are labyrinthed in the darkness, the orbed spring and whirling wave of the torrent have given place to a white, ghastly, interrupted gleaming. Have they more perfection or fulness of color? Not so; for their effect is oftentimes deeper when their hues are dim, than when they are blazoned with crimson and pale gold; and assuredly, in the blue of the rainy sky, in the many tints of morning flowers, in the sunlight on summer foliage and field, there are more sources of mere sensual color-pleasure than in the single streak of wan and dying light. It is not then by nobler form, it is not by positiveness of hue, it is not by intensity of light, (for the sun itself at noonday is effectless upon the feelings,) that this strange distant space possesses its attractive power. But there is one thing that it has, or suggests, which no other object of sight suggests in equal degree, and that is,--Infinity. It is of all visible things the least material, the least finite, the farthest withdrawn from the earth prison-house, the most typical of the nature of God, the most suggestive of the glory of his dwelling-place. For the sky of night, though we may know it boundless, is dark, it is a studded vault, a roof that seems to shut us in and down, but the bright distance has no limit, we feel its infinity, as we rejoice in its purity of light. Sec. 6. Infinity how necessary in art.