climbing and laborious agriculture;--but would again be thrown into doubt by remembering that one main branch of the feeling,--the love of ugliness, seemed to belong in a peculiar manner to Northern Germany. If at all familiar with the art of the North and South, he would perceive that the _endurance_ of ugliness, which in Italy resulted from languor or depression (while the mind yet retained some apprehension of the difference between fairness and deformity, as above noted in Sec. 12), was not to be confounded with that absence of perception of the Beautiful, which introduced a general hard-featuredness of figure into all German and Flemish early art, even when Germany and Flanders were in their brightest national health and power. And as he followed out in detail the comparison of all the purest ideals north and south of the Alps, and perceived the perpetual contrast existing between the angular and bony sanctities of the one latitude, and the drooping graces and pensive pieties of the other, he would no longer attribute to the ruggedness, or miasma, of the mountains the origin of a feeling which showed itself so strongly in the comfortable streets of Antwerp and Nuremberg, and in the unweakened and active intellects of Van Eyck and Albert Durer. Conditions which produce the Mountain gloom. Sec. 23. As I think over these various difficulties, the following conclusions seem to me deducible from the data I at present possess. I am in no wise confident of their accuracy, but they may assist the reader in pursuing the inquiry farther. General power of intellect. I. It seems to me, first, that a fair degree of intellect and imagination is necessary before this kind of disease is possible. It does not seize on merely stupid peasantries, but on those which belong to intellectual races, and in whom the faculties of imagination and the sensibilities of heart were originally strong and tender. In flat land, with fresh air, the peasantry may be almost mindless, but not infected with this gloom. Romanism. II. In the second place, I think it is closely connected with the Romanist religion, and that for several causes. A. The habitual use of bad art (ill-made dolls and bad pictures), in the services of religion, naturally blunts the delicacy of the senses, by requiring reverence to be paid to ugliness, and familiarizing the eye to it in moments of strong and pure feeling; I do not think we can overrate the probable evil results of this enforced discordance between the sight and imagination. B. The habitually dwelling on the penances, tortures, and martyrdoms of the Saints, as subjects of admiration and sympathy, together with much meditation on Purgatorial suffering; rendered almost impossible to Protestants by the greater fearfulness of such reflections, when the punishment is supposed eternal.