The great problem of the age is the union of beauty with practical uses. In their highest forms, art and science blend and become identical, just as the Beautiful and the Good assimilate, as we trace them to their source in Truth. While art becomes more practical, it loses none of its beauty. In the infancy of science, it was mainly devoted to the illustration of the fanciful and ornamental. Even architecture, in the early ages, looked less to permanent comfort than to artistic effect. But everything now tends to realization. Poetry and art fall in with this influence of the age. Science is every day taking man away from the purely ideal, the morbid and visionary; from the fond fancies of old eras, and leading him to facts and to nature. Mr. Leland never becomes formal or spiritless in the treatment of his favorite topics, and often rises to a high degree of enthusiastic eloquence. Witness the following noble appeal in behalf of a cheerful earnestness in the cultivation of literature and art: Young writer, young artist, whoever you be, I pray you go to work in this roaring, toiling, machine-clanking, sunny, stormy, terrible, joyful, commonplace, vulgar, tremendous world in _downright earnest_. By all the altars of Greek beauty themselves, I swear it to you; yes, by all that Raphael painted and Shakspeare taught; by all the glory and dignity of all art and of all Thought! you will find your most splendid successes not in cultivating the worn-out romantic, but in _loving_ the growing Actual of life. Master the past if you will, but only that you may the more completely forget it in the present. He or she is best and bravest among you who gives us the freshest draughts of reality and of Nature. It lies all around you--in the foul smoke and smell of the factory, amid the crash and slip of heavy wheels on muddy stones, in the blank-gilt glare of the steamboat saloon, by the rattling chips of the faro table, in the quiet, gentle family circle, in the opera, in the six-penny concert, the hotel, the watering-place, on the prairie, in the prison. Not as the poor playwright and little sensation-story grinder see them, not as the manufacturers of Magdalen elegies and mock-moral and mock-philanthropical tales skim them, but in their truth and freshness as facts, around and through which sweep incessantly the infinite joys and agonies, the dreams and loves and despair of _humanity_. Heavens! is not LIFE as earnest and as mysterious and as well worth the fierce grapple of GENIUS, here and _now_, in this American nineteenth century, as it ever was under the cedars of Italy, the olives of Greece, or the palms of Morning Land? Are there not as much, or more vigor and raciness in the practical souls of the multitude and in their never-ending strife with Nature, as among the spoiled and dainty