e the things denied him.

"And in these books of mine, their distinctive character, as essays on
art, is their bringing everything to a root in human passion or human
hope. Arising first not in any desire to explain the principles of art,
but in the endeavor to defend an individual painter from injustice, they
have been colored throughout, nay, continually altered in shape, and
even warped and broken, by digressions respecting social questions,
which had for me an interest tenfold greater than the work I had been
forced into undertaking. Every principle of painting which I have
stated is traced to some vital or spiritual fact; and in my works on
architecture the preference accorded finally to one school over another
is founded on a comparison of their influences on the life of the
workman,--a question by all other writers on the subject of architecture
wholly forgotten or despised.

"The essential connection of the power of landscape with human emotion
is not less certain because in many impressive pictures the link is
slight or local. That the connection should exist at a single point is
all that we need.... That difference, and more, exists between the power
of Nature through which humanity is seen, and her power in the desert.
Desert,--whether of leaf or sand,--true desertness, is not in the want
of leaves, but of life. Where humanity is not and was not, the best
natural beauty is more than vain. It is even terrible; not as the
dress cast aside from the body, but as an embroidered shroud hiding a
skeleton."

The volume, as a whole, will be found less dogmatic, calmer, more
convincing, and more directly applicable to artistic judgment, than any
of the others. There is the same love of mysticism and undermeanings,
but freighted with deeper and more central truths: a charming conclusion
to a fourteen-years' diary of such study of Art and Nature, so severe,
so unremitting, as never critic gave before.

_Syntax of the Moods and Tenses of the Greek Verb._ By W.W. GOODWIN,
Ph.D. Cambridge: Sever and Francis.

Grammarians had once a simple way of disposing of the subject on which
Professor Goodwin has given us this elaborate treatise of three hundred
pages.

In the Greek Grammar of the Messieurs de Port Royal, which Gibbon
praises so highly in his charming autobiography, and which has passed
through several editions in England within the present century, we
are taught, that, "though the moods [in Greek] are not to b