The Sun.
London, England, 1853-03-17 00:00:00

MINES.
1 all Ag,na, Fria
10s. all Anglo Californian
10 2 Australasian l— 2 34 3
20 5 Australian 6 —64 p 64
1 all Australian Cordillera par 1 p tit
1 all Australian Freehold, par pll 4
1 all Ave Maria 4 dis— p i
1 all Baden (Gd. Duchy of) par p 1
1 all British Austria. Gold 4 g p
20 13.5 British Iron 7 9
35 244 Bral.ilianlmp.(issued
at £5 pm 5 54 54 i
30 all Do. Cocaes & Cuiada 4 44 44 1 4
20 15 Do. St. John Del Rey 29 —3O
1 4 Carsons's Creek par 4 p
40 all Cobre Copper 46 47 474 8
5 1 Colonial Gold 2B 24 434 .1
•• • 14 Copie po 54 -- 64 54
St. all Copper Min. of Eng 7O 75
25 all Do. Pref. 74 p. cent 74 —84 p
5 all English and Austin
Copper Smeltg. Co l4 4 d 44 14 1
20 all General lB —2O
2 all Great Nugget Vein 24 —34 p 54 5
3 all Great Polgooth. l4 —1./ p
1 all Lake Bathurst.
1 all Liberty i i p
1 all Lond.&Californ.Gold
Quartz Crush. Co / I d
1 all Mariquita 4d— par
10 9 Mexican&S.Amerien 8 9 88 i
1 all Now Granada — 4 P
1 all Nouveau Monde 1 1/p 2/ / 4
.5 1 Port Philip g— 1p24 2 14
1 all Quartz Rock 4dis— 4 p 1
50 all Rhymney Iron 22 —24 p
15 Do. New 7 8
30 104 Santiago do Cuba 7 8
1 all South Australian...., 4 4 p
10 7 Tin Croft ll 13
284 all United Mexican 64 7 64
1 all Waller — ... p 1
1 all West Granada I 4 p
1 all West Mariposa i die— 4 p 1
1! all Yuba 4— i P
JOINT-STOCK BANKS.
40 all Australasia 924 934 93
50 all British N. American ... ...
20 2 Chrtd. Bnk. of India,
Australia, & China 24 —22 p 1
100 25 Colonial — ...
100 20 Commercial of Lond ... ...
... 10 English Scottish and
Australian 24 3 p 134
20 124 Loud. Chart. Bk. of
Australia 54 —53 p 174
50 20 London and County ... ...
50 10 London Joint Stock ... ...
100 20 Lond. & Westminster ... ...
20 2 London Bank of Aus-
tialia. and India
50 224 Nat'onal of Ireland ... ...
25 all Oriental Bank of
Corporation 56 57 6 4 6 4
25 5 Do. New — ...
100 25 Provincial of Ireland ... ...
10 all Do. New — ~.
6 1 Royal Australn.Bkg
& Gold Imp Co 'par 4 4
25 all South Australia 5O 52 51
25 all Union of Australia 774 784 78 94 81
... 2. Do. New B4 0
50 10 Union of London ... ...
i 40 all Union of Madrid ... • ...
MISCELLANEOUS
1100
35 Australian Agricult. 105 110 'lO5 4 8 8
. 20 4 Australsu.Pcific.Mail ... ...
10 5 Australn. Royal Mail ... ...
.. . 384,8rit. American Land ... ...
100 324 Canada — ...
5 5 Crystal Palace — ... 644441
4 2 Crystal Pal. of France ... ...
20 1 Eastern Steam — ...
1 1 Electric Teleg. of Ir ... ...
15 14 Gen. Steam Navigat ... ...
100 50 General Screw Steam ... ... 114 12
20 24 Irish Beetroot Sugar ... ...
1 all Nat. Pat. Steam Fuel ... ...
10 2 Netherlands Land ... ...
20 24 Nrth.ofEuropeSteam ... ...
50 all Peninsular & Oriental ... ... 83 44
50 25 Do.
100 60 Royal Mail Steam . .
25 25 South Anstral.Land 55 57 564 34 5 4
1 1 Submar. Telegraph ... ...
5 2 Univeral Emigration
and Colonization ... ...
100 284 Van Diemen's Land 24 25 234 35 44

23i 3 5 4i

LLOYD'S SJJIPPINO-(THIS DA Y.)

LONDON, March 17.—Wind at Noon, N.E., light breeze,
and cloudy.

DEAL, March 16.—Wind, E.N.E., strong. Arrived from
the River, and sailed—Juno, for Sydney, N.S.W ; Cen-
taur, Algoa Bay ; Albemarle, Port Philip ; Euphemia,
Geelong. Arrived—Preciosa, Rio Janeiro, for Abo ; Olden-
burgh, New Orleans, for Bremen.
BRISTOL, March 16.—Wind, E.N.E. Sailed—Jas. Tit-
comb, New Orleans.

PLYMOUTH, March .16.- -Wind, E.N.E. Arrived—Syd-
ney (s), Australia and Cape of Good Hope—on freight,
175,790 oz. of gold. Sailed—Elizabeth, Melbourne. Off
Port—Ella, Charleston, for Amsterdam.
PORTSMOUTH, March 16.—Wind, N.E. Off Port—
Cygnet, Berbice. Sailed—Andalusia, New York.
SOUTHAMPTON, March 16.—Wind, N.W. Arrived—
Teviot (s), Brazils.
LIVERPOOL, March 16.—Wind, S.S.E. Arrived—Priam,
Wilmington ; Marion, Rio Hache ; Carthagena de Colum-
bia ; Joshua Mauran, New Orleans ; Houghton, do. ;
Emigrant, Mobile ; Scation, Apalachecola. Sailed—
Presto, Melbourne ; Jenny Lind, San Francisco ; Town of
Liverpool, Pernambuco ; Douce Davie, Honduras ; Pro-
vidence, Vera Cruz ; Chesapeake, Baltimore ; Forest King,
New York ; Constitution, do. ; Compromise, do. ; St.
Johannes, Boston. The Mary Ann, arrived hence at Bos-
ton, had received damage, having been on shore.
CARDIFF, March 16.—Sailed 1.R.L., New York.
ALMEIRA, March B.—The Belmont, Carthagena to New-
castle, has been brought in with damage, having been in
contact with a Guarda Castor.

BELFAST, March 15.—The Archduke, of Dundee, is on
shore at Garron Point, and the tide flows in and out of her.
The Diligence, of Cardigan, ssruck on the Briggs, and is
full of water.

SHIELDS, March 16.—The Spring, of Yarmouth, is on
Mushell Scarp, but is expected off.
DUNDEE, March 15.—Arrived—Clymene,

MARKET NEWS-(THIS DAY.)

GENERAL AVERAGE PRICES OF BRITISH CORN
For the Week ended March 17,1853, made up from the Returns of the
Inspectors in the different Cities and Towns in England and Wales.
Quarer.
per imperial
IWHEAT. EASLEY. OATS. RYE. BEANS. I PEAS.
45e 8d 3ls 9d 18s 6(11 I I 30s 9d 1 34s 43 32s 9d
DUTIES ON FOREIGN CORN.

WHEAT. I BARLEY. I OATS. I
18 Od 18 Od 18 Od I
QUANTITIES OF GRA
Wheat, 103,145 ; Barley, 69,093
8,886; Yeas, 2

I sys. wags. I PIM.
I Is Od Is Od 1 ls Od
IN SOLD LAST WEEK.
; Oats, 24,566; Eye, 122 ; Bens,
1,495 quarters.

HAY MARKETS.

SMITHFIELD.—Meadow hay, 3/ Gs to 4/ 12s ; clover
ditto, 41 Os to 51 5s ; and straw, 115 s to 11148 per load.
Trade dull, and prices rather lower.
CIIMBERLAND.—Meadow hay, 31 38 to 4115 s ; clover
ditto, 410 s to 5/ Os • and straw, 1178 to 1/ 16s per load.
Supply good, and trade dull.
WHITICOHAPEL.—Meadow hay, 3/ Os to 4/ 128 ; clover
ditto, 41 Os to Si 5s ; and straw, 1/ 68 to 11138 per load.
A full average supply, and a sluggish demand.

MEAT MARKETS.
at NtnhwisGAmTLAetNDtoL-dEsAyDEruiNHedALLst.e—aciThype
at
tenfearal
prices.—
Beef, 2s 4d to 3s 6d ; Mutton, 3s 6d to 48 6d ; Veal, 3s 2d
to 4s 4d ; Pork, 2s 6d to 4s per 81bs, by the carcase.
SOITHALL, MARCH 16.—The supply of stock on offer
was very moderate, yet the general demand was sluggish,
with little alteration :—Beef, 2s Bcl to 4s Od ; Mutton,
3s Gd to 5s Od ; Veal, 3s 4d to 4s 2d ; Pork, 38 Od 38 8d
per 81bs, to sink the offal.
ROMFORD, MARCH 16.—Our market to-day has been
tolerably firm, and the following are the quotations
Beef, from 2s 6d to 4s Od ; Mutton, 3s Ed to 5s 2d ;
Veal, 3s 4d to 4s 2d ; Pork, 3s Od to 3s 10d per Blbs.
Quarter old Store Pigs, 18s to 25s each.
LEWES, MARCH 15.—A1l stock moved off slowly, as
follows, :—Beef, from 3s to 4s 2d • Mutton, 4s Od to 5s 2cl ;
Pork,
3s 2d to 3s 8d per 81bs.

THE EAST INDIA COMPANY.—In compliance with a
requisition, signed by about 100 of the leading mercan-
tile firms of the town, the Mayor of Manchester has
convened a meeting of bankers, merchants, and manu-
facturers of the borough, to be held on Tuesday next, to
consider what suggestions that community ought to make
to the Government or to Parliament for the better deve-
lopment of the resources of British India, and the conse-
quent amelioration in the condition of the people.

LITERATURE.

Harry Muir. By the author of " Adam Gra me,'
dic. 3 vols. Hurst and Blackett.

It is impossible to conceive a more simple tale
than this. In the quiet and secluded cot entry
d well its heroes and heroines, far away fron i the
strife of politics, the maze of fashion, the d in of
business, and• the traffic of commerce. Na won-
derful event is introduced, and no striking cam ualty
appears, and yet, notwithstanding, it wool d be
difficult to find a more interesting story, or • to : meet
with more powerfully-delineated dramatis pen .once.
Nature is here shown forth, and truth speaks now.
Scottish manners, customs, scenery, and lif e are
veryably drawn, from the little Maggie Macgi lli vraY,
" clipping" at her mother's door in the sun 1 light,
to the aged dragon who guarded the familiar s cenes
from whence he had seen generations pass a way.
Harry Muir, the nominal hero, is only a sec or tdary
personage in the tale--the results of his doi ug s are
features of the work, and the effects he c auses
form the subject-matter for remark ; but it; is his
eldest sister Martha to whom the first places must
be given. Her vigorous mind could well have, :borne
her family through every trouble—but it was. / tot so
to be. She had to bear the heaviest burd en this
life can bring, to remain passive when burn in g for
action, to let things take their course of evil, • when
she felt that by her exertions they might be to .rned
into a safe and secure channel. In this oh ai .acter
the authoress achieves a signal triumph. Many
may rush on in the struggles of life and fall or • win,
but it is only a few who can control their tse Ives,
who can see their dearest wishes crumble I sex Leath
their feet, their cherished fabrics dashed do` rn into
the dust, and yet go on in unfailing strength, , hope,
and courage. Their heart's desire, their sour; s am-
bition, is gone; it has become worse than dedearl- —but
the spirit will not yield ; it resists to the ?, end.
Martha is shown like this. At first she rebelled
against her fate, and would not bend to c it cum-
tames; but time, that shattered her bright hop 'es, and
cast a shade over her young life, brought v. rit;dom
age might have envied, and faith martyrs migh Lt have
emulated. She is made pleasing in her ma milers,
which is not often seen in those cast in her n to.uld :
her way of yielding the precedence tcss her
young sister-in-law (quite a child in her ways,)
while conscious herself of surpassing 'other
women in intellect, is very graceful and
touching. Rose and Violet are charming
_girls,
and afford a relief to the sombre foreground of the
picture. Cuthbert Charteris, with his deter mined
and resolute conduct, is welcome after the vacil-
lating and wayward Harry. The indiscrimi m ding
multitude are always led away by such nie.n as
Harry ; but the far-seeing and wise -judging. Imow
that those who feel the least make others slit E'er the
most, and that those who laugh in troublle and
revel, without a care for the day, are clouding others'
sunshine, and laying up in store many a sadt mor-
row for those connected with them. An admirable
lesson is here given for those unversed in. such
knowledge. No one is sent here to smile and. •enjoy
himself, but to promote the welfare, and, if post 3ible,
the happiness of others. Harry never cared for
his wife, his children, his three sisters, his frit 3nds,
his home, or his fortunes. All might go to w -reek
and ruin, provided he was amused—not that he
was bad-hearted or evil-disposed by nature. But
what is nature without grace, and what good worth
mentioning is there in a man who cannot refuse
wrong or trampling under his feet the snares of those
he really despises ? One point .is very natural :
Harry, so yielding abroad, was a very despot when
crossed at home. He exerted his authority as mas-
ter of the house, but .he could never be the master
of himself. With his transitory physical advan-
tages, with health and strength buoying him up,
he felt himself as king and lord of all, never caring
or heeding for that inward power stronger than
armed hosts, and " mightiest in the mighty," which
can stand forth unharmed in the midst of ill, meet
the seducing tempters face to face, and resist and
overcome them. As little Violet said in her precocious
reflections, "Is it all the fault of those who lead
away ? Are not people themselves to blame for being
led away ?" And again, " You never talk of folks
being led away for good." Many are the wise say-
ings of Martha in the long, wearying season of

trouble which those wretched sisters to endure.
When Rose said her heart was breaking, Agnes
(the miserable wife) exclaimed it would kill her.
Martha, whose feelings for Harry, whom she had
watched tendedand taught from infancy—combined
mother'slcare, a sister's sympathy, and a wife's de-
votion, faltered not—her love was immortal in its
depth and height, its foundation sunk far below
earth's annoyances, its fervour exalted her above
time and space, and sought the seventh heaven.
Thus she entreated them :
"It must not kill you. Bairns, hear me ; you must

let nothing kill you, nothing crush you, even in your
innocent hearts, till God sends the messenger that will
not be gainsaid. Now it is coming—may be ruin, may be
destruction, certain distress and anguish. But the end
is coming which God knows ; you must not pine, you
must not weep, nor waste your strength with mourning.
Bairns, we have to wait, and be ready and strong, to
meet it when it comes. This is what we have to do."

The end was long appearing, but it came all too
soon. Then did the heroic sister complete her per-
fect work, perfect as far as earth will allow, for it
bore the stamp of Heaven, and spoke of the life to
come. "To live in hearts we leave behind is not
to die." Martha knew this ; but the question is,
How do we live in those hearts ? Many blamed,
some despised, her brother. She had to reverse
that blame, to change that feeling, and she suc-
ceeded. As far as the world outside and his home
were concerned, he had only been extravagant ; he
had laid down good plans, but not carried them
out. Two thoughts suggest themselves to the
mind at the conclusion of this work. A warning
is held out, a promise is given. To all such as
Harry ruin is near. Youth and strength are as
shadows flying away at a breath ; riches, talents,
and honours make themselves wings and are gone ;
but the memory of the just is sacred ; in his home
it is revered as a household god—in his land it is
blessed by the generations of his countrymen ; and
for those like to Martha it is shown that we are not
to think we can be all we like or seek, although
we crush selfishness and cast away folly. The
ambition of good becomes an evil, unless we follow
instead of leading. In the path assigned to us
there may the endeavours soar, but it is not right
or reasonable to mark out a course the fancy de-
sires, and, because success does not smile, call the
world a desert, full of vanity and vexation of spirit.
Sorrowful was Martha most of the days of the years
of her sojourn, but her sorrow turned at last to
joy—not the wild zest of young hopes, but the
tutored thanksgiving of a disciplined heart. Vain
were her talents when exercised in her own way—
her life was nothing, her brother's death struck
terror to her hopes. It was not till yielding to the
will of Him who gave the talents that shetriumphed.
She lifted up her eyes to the heavens, where she
trusted her departed treasure had passed, before
on earth she found peace. In the following pas-
sages will be shown the great force of the author in
describing her characters :—Alexander Muir was an
excellent old man, in whom age had no power
to chill his affections to God and man, and
who was young again in his love to the rising race
around him.
The conclusion, when Martha looks out by moon-
light on the scene sacred to the memory of sorrows
passed away, sweet in the blessedness of hopes
fulfilled, and shining in the glory of promises in
store, is surpassingly imagined. Her long day of
work over, at evening tide she rested from her
labours ; the glaring noonday of distracting trials
was spent—the calm orb of night, the stars of peace,
shone down upon her suffering heart and soothed
her wearied spirit. With one alteration, to her
might be applied the epitome of Evangeline, " Fair
was she and young when, in hope, began the long
journey, faded was she and old when it ended,"
not in disappointment, but in love, that took the
sting from sin and the victory from the grave.
" Alexander Muir was one of those whose end of life
seemed almost as pure as its beginning, A spirit so
blameless and placid that we might almost think it had
only been sent here, because it is a greater joy to be a
man, and know by certain experiment the wonderful
mystery of redemption, than to be satisfied with such
knowledge as the sinless in heaven can gain. It is happy
for us amid the dark records of common lives, that here
and there God permits us one such man, born to be
purer than his fellows ; so much lower than the angels,
that the taint of native sin has come with him into the
world—so much higher than they, that the mantle of the
Lord has fallen upon him, and that he stands accepted
in a holiness achieved by the Master and Ring of all.
Lichened over with the moss of age, in quiet places here
and there, live gracious souls of this happy class,
and
Alexander Muir was one." * * *

"That night, standing on the turret, Martha looks
out upon the lands of Allenders—the lands which her
own labour had cleared of every overpowering burden,
and which the same vigorous and unwearied faculties
shall yet clear of every encumbrance, if it please God.
The moonlight glimmers over the slumbering village of
Maidlin—over the pretty houses of poor Harry's impa-
tient fancy, where Harry's labourers now dwell peace-
fully, and know that their improved condition was the
will and purpose of the kindly-remembered dead.
And the little spire of Maidlin Church shoots
up into the sky, guarding the rest of him
whose memory no man dares malign—whose name
has come to honour, and sweet fame, since it shone
upon that tablet on the wall, and not one wish or pas-
sing project of whose mind, which ever gained expres-
sion in words, remains without fulfilment, or without
endeavour or settled purpose to fulfil ; and Martha's
thoughts turn back—back to her own ambitious youth
and its bitter disappointment—back to the beautiful
dawn of Harry's life—to its blight, and to its end. And
this grand resurrection of her buried hopes brings tears
to Martha's eyes, and humility to her full and swelling
heart, -, Gad, whose good pleasure it once was to put the
bar of utter powerlessness upon her ambition, has at

last given her to look upon the work of her hands—God,
who did not hear, according to her dimmed apprehen-
sion, those terrible prayers for Harry, which once wrung
her very heart, gave her to see him pass away with
peace and hope at the end, and leis permitted her—her,
so greedy of good fame and honour—to clear and redress
his sullied name • and the angels know the deep, un-
speakable humility of thanksgiving which swells in
Martha's heart. So to all despairs, agonies, bitternesses
of the strong heart, which once stormed through them
all, but which God has chastened, exercised, at length
blessed, comes this end. Harvest and seed-time in one
combination, hopes realised and hopes to come, all giv-
ing thanks morning and evening for fair days sent to
them out of the heavens, and sorrow charmed into sweet
repose, and dangers kept away. But though Martha's
eyes are blind with tears, and her heart calls upon
Harry—Harry, safe in the strong hand of the Father,
where temptation and sorrow can reach him never more
—the same heart rises up in the great strength of joy
and faith, and blesses God; who knoweth the beginning
from the end—who maketh His highway through the
flood and the flame—His highway still, terrible though
it be—who conducts into the pleasant places, and re-
freshes the failing breast with hope, and the sleep which
He gives to His beloved fell sweet and deep, that night
upon the wearied heart,of Martha Muir."

Zanoni. By Sir E. Bulwer Lytton.
tion. Chapman and Hall.
It is not without ample reason that the author
of this noble romance ranks it amongst the highest
of his prose works of imagination. Although we
have not failed to recognise under the current of
the fiction a variety of typical meanings of very
profound significance, we have never been among
the number of those who have resolutely regarded
it as an allegory. It were as erroneous to treat it
obdurately as a production of a simply allegoric
character, as cit, would be—and in this we follow
the hint contained in the exceedingly suggestive
" Note" appendedito the present volume—to treat
in the same perverse manner the " Faust" of
Goethe, or the "Hamlet" of Shakspere. Indeed, we
cannot altogether adopt as sufficient thelingenious
suggestion of the anonymous critic whose explana-
tion of the meaning of " Zanoni" is honoured by
insertion in the reprint before us, and who argues
that the hero of the story should be considered as
the incarnation (if one might so express it) of Ideal-
ism. Zanoni, the character we mean, and not the
book, is something more than the symbol of Idealism
—just as Faust is something more than the type of
Intellectual Ambition, or as Hamlet is something
more than the embodiment of Human Irresolution.
Each, we take it, must rather be regarded as a
veritable microcosm : a being inspired by peculiar
aspirations and acting under peculiar circumstances.
Singularly clever though the explanation here
given by some unknown commentator (" one of our
most eminent living writers," as Sir E. B. Lytton
himself tells us in his " Preface"), undoubtedly
is—it is to us, we repeat, altogether unsatisfactory.
Zanoni, as we have seen, may, to a certain extent,
be considered to represent " Idealism," and Mej-
nour " Science," and Viola " Human Instinct,"
and Aidon-ai " Faith," and the Dweller of the
Threshold " Fear," and Nicot " Passion," and
Glyndon " Unsustained Aspiration, and Mervale
" Conventionalism "—but that is very far from all,
there are beyond these inner meanings still un-
penetrated. Nevertheless, although to a consider-
able extent dissatisfied with the argument ad-
vanced by the writer of this very curious Appendix,
we must again acknowledge it to be so far ingenious
that we are in a manner grateful for its publication.
It may excite in the minds of the more super-
ficial or uncontemplative readers of " Zanoni" a
train of wholesome and elevating speculation. It
may afford them a clue through the labyrinths of its
subtle and mysterious philosophy. During the
Preface to the present edition, our author takes
occasion to remark somewhat earnestly—" I refer
those who do me the honour to read Zanoni'
with more attention than is given to ordinary
romance, to the poem of King Arthur' for sug-
gestive conjecture into most of the regions of specu-
lative research, affecting the higher and more im-
portant condition of our ultimate being, which
have engaged the students of immaterial philosophy
in my own age"—a recommentation, by the way,
which, if adopted, must prove not less pleasurable
than profitable to the students in this philosophy.
Of the romance, as a work of art, it would be
almost an impertinence in this place to offer any-
thing like a formal analysis. Its beauty has long
since been recognised and appreciated. Its fasci-
nation we have all felt, deepening and enlarging as
we advanced in the perusal, from the first wailing'
of that wierd cremona of Pisani to the last hell-
born reverberations of that grizzly Reign of Terror
(depicted in such ghastly and sombre colours to-
wards the close of the narrative), and which may
be said to have only terminated with the yells of
the populace round the guillotine when the axe
descends, and " blackness rushes on the soul of
Maximilian Robespierre." " Zanoni" must be re-
garded as invested with another interest not yet
mentioned, and one, moreover, of a very remark-
able-character—that of having tended to popularise
in this country the otherwise recondite history of
the still not extinct race of the Rosicrucians.

Cheap Edi

Collected Poetical and Dramatic Works of Sir E.
Bldiver Lytton. Vol 11. Chapman and Hall.

Another volume of this excellent edition of the
Collected Poetical and Dramatic productions of
Sir E. Bulwer Lytton having just appeared, it only
remains to observe that it comprises the first nine
books of " King Arthur," an epic, the beauties of
which we ourselves have already frequently com-
mended, after having subjected it as a work of art '
to the elaborate analysis of impartial criticism.
New graces become apparent on every re-perusal,
and that, we take it, is a sufficient token of sterling
excellence in either ancient or modern contribu-
tions to literature. A single perusal, however,
will amply satisfy the mind of every discerning
reader that " King Arthur" is as assuredly one
of the most remarkable of living effusions as it is
undoubtedly and beyond all question our author's
poetic masterpiece.

The Natural Principles of Beauty. By D. R.
Hay, F.R.S.E. Blackwood.
. .

A treatise which, in its ingenuity, not less than
its subject, is exquisitely beautiful. Already, in a
more elaborate production, the auther had ex-
plained how the aesthetic developments of the
human form coincide perfectly with that law of
harmonic ratio which has been allowed to be an
universal law of nature ever •since the age of
Pythagoras. Upon this coincidence Mr. Hay has
based a new and very charming system of propor-
tion. He has expounded his system, moreover,
with infinite elaboration. His last splendid volume
will have sufficiently indicated this—the work is
entitled, " The Geometric Beauty of the Human
Figure Defined." His present treatise we take to
bo a yet clearer evidence of the correctness of his
views, afforded through the medium of an indivi-
dualised illustratioi. It can scarcely fail to popu-
larise the system of which the author is the origi-
nator. As the writer himself intimates, at the
outset of his new publication, the method by which
he has founded upon the law of harmonic ratio a
distinct system of proportion may be readily enough
expounded. "It consists in dividing the semi-
circle by 2,3, 5, and 7, and multiples of these
primes, in the same arithmetical progression in
which the monochord spontaneously divides itself
in the production of the harmonics of sound, and
using the angles thus produced in applying har-
monic proportion to plane figures, through diagonal
direction instead of vertical and horizontal distance.
By this means," continues Mr. Hay, " divisions by
2,4, &c., give what may be termed, in harmonical
phraseology, tonic angles ; divisions by 3,6, &c.,
dominant angles ; divisions by 5, 10, &c., medi-
ant angles ; and divisions by 7, 14, &c., subtonic
angles." In all this we only recognise another and
very admirable indication of the analogy traceable
between the fine arts—an analogy which has long
since, in various particulars, been more than
suspected. Colour and sound have long been
felt to possess this analogy, to a degree
that elevates into something more than the
oddly fanciful that remark of the blind man,
that scarlet was like the blare of a trumpet.
Hitherto detected in other quarters, this latent
analogy has now been gracefully traced out by.
Mr. Hay, and applied by him to the more inti-
mate association of form and number—according
to the rules which had previously been known
to link number to harmony by a series of
symmetrical proportions. Besides the more com-
prehensive production already alluded to as
having emanated from the same hand, there
have appeared, various others, all tending to
establish the author's really exquisite Theory
of the Beautiful in Form. This theory, as he him-
self reminds us in the preface to the elegant pamph-
let here submitted to criticism, "is applicable
to every species of formative art, from an architec-
tural structure to the meanest household utensil."
He has deemed it advisable, however, to restrict

its application through the present treatise to the
structure of the Human Figure. Even here he
has still further restricted himself—and, let us
add, we cannot but think judiciously—to the
analysis of the Female Figure alone. The
argument is illustrated by four engravings, besides
a frontispiece. To quote once more the words of
the author—" Here an attempt has been made to
prove that the mind is capable, through the eye,
of judging of symmetry, or of proportional
beauty, by seizing on the prominent points of an
object, and inquiring what are the relative direc-
tions which the other points occupy as seen from
thete." Furthermore, he observes—" It has been
made to appear that the highest standard of sym-
metry, so estimated, is deduced from the simplest
that
lair that could have been conceived—the law