which this seemingly mysterious power depends. They are purely structural laws, and relate not to the mind, but to the eye,--not to the province of the metaphysician, but to that of the professor of optics. The lens of the camera obscura transmits the figures to the prepared paper, on quite the same principle on which in vision the crystalline lens conveys them to the retina. In the centre of the field in both cases there is much distinctness, while all around its circumference the images are indistinct and dim. We have but to fix the eye on some object directly in front of us, and then attempt, without removing it, to ascertain the forms of objects at some distance on both sides, in order to convince ourselves that the field of distinct vision is a very limited field indeed. And in this transcript of the larger _tableau vivant_ we find exactly the same phenomena. The central figures come all within the distinct field. Not so, however, the figures on both sides. They are dim and indistinct; the shades dilute into the lights, and the outlines are obscure. How striking a comment on the theory of Brown! We see his mysterious power resolved in that drawing into a simple matter of light and shade, arranged in accordance with certain optical laws. The clear central space in which the figures are so distinct, corresponds to the central space in the retina; it is the attention-point of the picture, if we may so speak. In the eye this attention-point is brought to bear, through a simple effort of the will, on the object to be examined; and the rest of the process, so pleasingly, but at the same time so darkly, described by the philosopher, is the work of the eye itself. THE TENANT'S TRUE QUARREL.