it would be unwise, were it even possible, to relinquish: but every thing that tends to clothe it in a strange and repulsive garb, and especially every thing that, to keep up an appearance of superiority in its professors over the rest of mankind, assumes an unnecessary guise of profundity and obscurity, should be sacrificed without mercy. Not to do this, is to deliberately reject the light which the natural unencumbered good sense of mankind is capable of throwing on every subject, even in the elucidation of principles: but where principles are to be applied to practical uses it becomes absolutely necessary; as all mankind have then an interest in their being so familiarly understood, that no mistakes shall arise in their application. (64.) The same remark applies to arts. They cannot be perfected till their whole processes are laid open, and their language simplified and rendered universally intelligible. Art is the application of knowledge to a practical end. If the knowledge be merely accumulated experience, the art is _empirical_; but if it be experience reasoned upon and brought under general principles, it assumes a higher character, and becomes a _scientific art_. In the progress of mankind from barbarism to civilised life, the arts necessarily precede science. The wants and cravings of our animal constitution must be satisfied; the comforts, and some of the luxuries, of life must exist. Something must be given to the vanity of show, and more to the pride of power: the round of baser pleasures must have been tried and found insufficient, before intellectual ones can gain a footing; and when they have obtained it, the delights of poetry and its sister arts still take precedence of contemplative enjoyments, and the severer pursuits of thought; and when these in time begin to charm from their novelty, and sciences begin to arise, they will at first be those of pure speculation. The mind delights to escape from the trammels which had bound it to earth, and luxuriates in its newly found powers. Hence, the abstractions of geometry--the properties of numbers--the movements of the celestial spheres--whatever is abstruse, remote, and extramundane--become the first objects of infant science. Applications come late: the arts continue slowly progressive, but their realm remains separated from that of science by a wide gulf which can only be passed by a powerful spring. They form their own language and their own conventions, which none but artists can understand. The whole tendency of empirical art, is to bury itself in technicalities, and to place its pride in particular short cuts and mysteries known only to adepts; to surprise and astonish by results, but conceal processes. The character of science is the direct contrary. It delights to lay itself open to enquiry, and is not satisfied with its conclusions, till it can make the road to them broad and beaten: and in its applications it preserves