First, then, it is 'the organ' and 'method' of tradition; and next, it is what he calls the _illustration_ of it. First, the object is, to bring truth to the understanding in as clear and unobstructed a manner as the previous condition--as the diseases and pre-occupations of the mind addressed will admit of, and next to bring all the other helps and arts by which the sentiments are touched and the will mastered. First, he will speak true, or as true as they will let him; but it is not enough to speak true. He must be able to speak sharply too, perhaps--or humorously, or touchingly, or melodiously, or overwhelmingly, with words that burn. It is not enough, perhaps, to reach the ear of his auditor: 'peradventure' he too 'will also pierce it.' It is not enough to draw diagrams in chalk on a black board in this kind of mathematics, where the will and the affections are the pupils, and standing ready to defy axioms, prepared at any moment to demonstrate practically, that the part is greater than the whole, and face down the universe with it, 'murdering impossibility to make what cannot be, slight work.' It is not enough to have a tradition that is _clear_, or as clear a one as will pass muster with the government and with the preconceptions of the people themselves. He must have a pictured one--a pictorial, an illuminated one--a beautiful one,--he must have what he calls an ILLUSTRATED TRADITION. 'Why not,' he says. He runs his eye over the human instrumentalities, and this art which we call _art--par excellence_, which he sees setting up for itself, or ministering to ignorance and error, and feeding the diseased affections with 'the sweet that is their poison,' he seizes on at once, in behalf of his science, and declares that it is her lawful property, 'her slave, born in her house,' and fit for nothing in the world but to minister to her; and what is more, he suits the action to the word--he brings the truant home, and reforms her, and sets her about her proper business. That is what he proposes to have done in his theory of art, and it is what he tells us he has done himself; and he has: there is no mistake about it. That is what he means when he talks about his illustrated tradition of science--his illustrated tradition of the science of HUMAN NATURE and its _differences_, _original_ and _acquired_, and the _diseases_ to which it is liable, and the artificial growths which appertain to it. It is very curious, that no one has seen this tradition--this illustrated tradition, or anything else, indeed, that was at all worthy of this new interpreter of mysteries, who goes about to this day as the inventor of a method which he was not able himself to put to any practical use; an inventor who was obliged to leave his machine for men of a more quick and subtle genius, or to men of a more practical turn of mind to manage, men who had a closer acquaintance with nature.