cepticism of some of his companions, refers the father of the maniac,
in an authoritative manner, for certain and speedy help to his Master on
the mountain above, whom, though unseen, his attitude at once connects
with all that passes below. Here is the point of contact; here is that
union of the two parts of the fact in one moment, which Richardson and
Falconet could not discover."

It is with diffidence that we would suggest any thing upon a work that
has so nearly exhausted criticism; but we will venture an observation,
and if we are correct, the glory of the subject is heightened by its
adoption. It has ever appeared to us to have purposed showing at one
view, humanity in its highest, its divinely perfected state, the manhood
taken into Godhead; and humanity in its lowest, its most forlorn, most
degraded state, in the person of a demoniac: and this contrast seems
acknowledged--abhorrently felt, by the reluctant spirit within the
sufferer, whose attitude, starting from the effulgence and the power
which is yet to heal him, being the strong action of the lower part of
the picture, and one of suffering, throws the eye and mind of the
spectator at once and permanently from earth to the heavenly vision, to
ascending prophets, and that bright and central majesty, "whose
countenance," Mr. Fuseli observes, "is the only one we know expressive
of his superhuman nature." This idea of transformation to a higher
nature is likewise kept up in the figures of the ascending prophets, and
the apostles below.

* * * * *

The Fourth Lecture is in continuation of the subject--Invention; but we
have left little space for further remarks. In another number of Maga we
shall resume our review of the lectures.

FOOTNOTES:

[1] Perhaps the author of the lectures received this ill
opinion of Pausanias from Julius Caesar Scaliger, who treats him as an
impostor; but he is amply vindicated by Vossius. He lived in the second
century, and died very old at Rome. In his account of the numerous
representations of the [Greek: Charites], he seems to throw some light
upon a passage in Xenophon's Memorabilia, which, as far as we know, has
escaped the notice of the commentators. It is in the dialogue between
Socrates and the courtesan Theodote. She wishes that he would come to
her, to teach her the art of charming men. He replies, that he has no
leisure, being hindered by many matters of private and public
importance; a