26. We should not have been thus strict in our examination of these preliminary statements, if the question had been one of terms merely, or if the inaccuracy of thought had been confined to the Essay on Antagonism. If upon receiving a writer's terms of argument in the sense--however unusual or mistaken--which he chooses they should bear, we may without further error follow his course of thought, it is as unkind as unprofitable to lose the use of his result in quarrel with its algebraic expression; and if the reader will understand by Lord Lindsay's general term "Spirit" the susceptibility of right moral emotion, and the entire subjection of the Will to Reason; and receive his term "Sense" as not including the perception of Beauty either in sight or sound, but expressive of animal sensation only, he may follow without embarrassment to its close, his magnificently comprehensive statement of the forms of probation which the heart and faculties of man have undergone from the beginning of time. But it is far otherwise when the theory is to be applied, in all its pseudo-organization, to the separate departments of a particular art, and analogies the most subtle and speculative traced between the mental character and artistical choice or attainment of different races of men. Such analogies are always treacherous, for the amount of expression of individual mind which Art can convey is dependent on so many collateral circumstances, that it even militates against the truth of any particular system of interpretation that it should seem at first generally applicable, or its results consistent. The passages in which such interpretation has been attempted in the work before us, are too graceful to be regretted, nor is their brilliant suggestiveness otherwise than pleasing and profitable too, so long as it is received on its own grounds merely, and affects not with its uncertainty the very matter of its foundation. But all oscillation is communicable, and Lord Lindsay is much to be blamed for leaving it entirely to the reader to distinguish between the determination of his research and the activity of his fancy--between the authority of his interpretation and the aptness of his metaphor. He who would assert the true meaning of a symbolical art, in an age of strict inquiry and tardy imagination, ought rather to surrender something of the fullness which his own faith perceives, than expose the fabric of his vision, too finely woven, to the hard handling of the materialist; and we sincerely regret that discredit is likely to accrue to portions of our author's well-grounded statement of real significances, once of all men understood, because these are rashly blended with his own accidental perceptions of disputable analogy. He perpetually associates the present imaginative influence of Art with its ancient hieroglyphical teaching, and mingles fancies fit only for the framework of a sonnet, with the deciphered evidence which is to establish a serious point of