with the high complexity of the causes at work in social evolution; but he frequently writes as if he had never yet distinguished between the complexity of the conditions that produce prevalent states of mind, and the inability of particular minds to give distinct reasons for the preferences or persuasions produced by those states. In brief, he does not discriminate, or does not help his reader to discriminate, between objective complexity and subjective confusion. But the most muddleheaded gentleman who represents the spirit of the age by observing, as he settles his collar, that the development-theory is quite "the thing," is a result of definite processes, if we could only trace them. "Mental attitudes" and "predispositions," however vague in consciousness, have not vague causes, any more than the "blind motions of the spring" in plants and animals.

The word "Rationalism" has the misfortune, shared by most words in this gray world, of being somewhat equivocal. This evil may be nearly overcome by careful preliminary definition; but Mr. Lecky does not supply this, and the original specific application of the word to a particular phase of Biblical interpretation seems to have clung about his use of it with a misleading effect. Through some parts of his book he appears to regard the grand characteristic of modern thought and civilization, compared with ancient, as a radiation in the first instance from a change in religious conceptions. The supremely important fact, that the gradual reduction of all phenomena within the sphere of established law, which carries as a consequence the rejection of the miraculous, has its determining current in the development of physical science, seems to have engaged comparatively little of his attention; at least, he gives it no prominence. The great conception of universal regular sequence, without partiality and without caprice the conception which is the most potent force at work in the modification of our faith, and of the practical form given to our sentiments-could only grow out of that patient watching of external fact, and that silencing of preconceived notions, which are urged upon the mind by the problems of physical science.

THE NATURAL HISTORY OF GERMAN LIFE: RIEHL.

Ir is an interesting branch of psychological observation to note the images that are habitually associated with abstract or collective terms-what may be called the picture-writing of the mind, which it carries on concurrently with the more subtle symbolism of language. Perhaps the fixity or variety of these associated images would furnish a tolerably fair test of the amount of concrete knowledge and experience which a given word represents, in the minds of two persons who use it with equal familiarity. The word railways, for example, will probably call up, in the mind of a man who is not highly locomotive, the image either of a "Bradshaw," or of the station with which he is most familiar, or of an indefinite length of tram-road; he will alternate between these three images, which represent his stock of concrete acquaintance with railways. But suppose a man to have had successively the experience of a "navvy," an engineer, a traveller, a railway director and shareholder, and a landed proprietor in treaty with a railway company, and it is probable that the range of images which would by turns present themselves to his mind at the mention of the word "railways," would include all the essential facts in the existence and relations of the thing. Now it is possible for the first-mentioned personage to entertain very expanded views as to the multiplication of railways in the abstract, and their ultimate function in civilization. He may talk of a vast network of railways stretching over the globe, of future "lines" in Madagascar, and elegant refreshment-rooms in the Sandwich Islands, with none the less glibness because his distinct conceptions on the subject do not extend beyond his one station and his indefinite length of tram-road. But it is evident that if we want a railway to be

made, or its affairs to be managed, this man of wide views and narrow observation will not serve our purpose.

Probably, if we could ascertain the images called up by the terms "the people," "the masses," "the proletariat,' 99 "the peasantry," by many who theorize on those bodies with eloquence, or who legislate for them without eloquence, we should find that they indicate almost as small an amount of concrete knowledge-that they are as far from completely representing the complex facts summed up in the collective term, as the railway images of our non-locomotive gentleman. How little the real characteristics of the working classes are known to those who are outside them, how little their natural history has been studied, is sufficiently disclosed by our Art as well as by our political and social theories. Where, in our picture exhibitions, shall we find a group of true peasantry? What English artist even attempts to rival in truthfulness such studies of popular life as the pictures of Teniers or the ragged boys of Murillo? Even one of the greatest painters of the pre-eminently realistic school, while, in his picture of "The Hireling Shepherd," he gave us a landscape of marvellous truthfulness, placed a pair of peasants in the foreground who were not much more real than the idyllic swains and damsels of our chimney ornaments. Only a total absence of acquaintance and sympathy with our peasantry could give a moment's popularity to such a picture as "Cross Purposes," where we have a peasant girl who looks as if she knew L. E. L.'s poems by heart, and English rustics, whose costume seems to indicate that they are meant for ploughmen, with exotic features that remind us of a handsome primo tenore. Rather than such Cockney sentimentality as this, as an education for the taste and sympathies, we prefer the most crapulous group of boors that Teniers ever painted. But even those among our painters who aim at giving the rustic type of features, who are far above the effeminate feebleness of the "Keepsake" style, treat their subjects under the influence of traditions and prepossessions rather than of direct observation. The notion that peasants are joyous, that the typical moment to represent a man in a smock-frock is when he is cracking a joke and showing a row of sound teeth, that cot

tage matrons are usually buxom, and village children necessarily rosy and merry, are prejudices difficult to dislodge from the artistic mind, which looks for its subjects into literature instead of life. The painter is still under the influence of idyllic literature, which has always expressed the imagination of the cultivated and town-bred, rather than the truth of rustic life. Idyllic ploughmen are jocund when they drive their team afield; idyllic shepherds make bashful love under hawthorn-bushes; idyllic villagers dance in the checkered shade and refresh themselves, not immoderately, with spicy nutbrown ale. But no one who has seen much of actual ploughmen thinks them jocund; no one who is well acquainted with the English peasantry can pronounce them merry. The slow gaze, in which no sense of beauty beams, no humor twinkles, -the slow utterance, and the heavy slouching walk, remind one rather of that melancholy animal the camel, than of the sturdy countryman, with striped stockings, red waistcoat, and hat aside, who represents the traditional English peasant. Observe a company of haymakers. When you see them at a distance, tossing up the fork fuls of hay in the golden light, while the wagon creeps slowly with its increasing burden over the meadow, and the bright green space which tells of work done gets larger and larger, you pronounce the scene "smiling," and you think these companions in labor must be as bright and cheerful as the picture to which they give animation. Approach nearer, and you will certainly find that haymaking-time is a time for joking, especially if there are women among the laborers; but the coarse laugh that bursts out every now and then, and expresses the triumphant taunt, is as far as possible from your conception of idyllic merriment. That delicious effervescence of the mind which we call fun has no equivalent for the northern peasant, except tipsy revelry; the only realm of fancy and imagination for the English clown exists at the bottom of the third quart-pot.

The conventional country man of the stage, who picks up pocket-books and never looks into them, and who is too simple even to know that honesty has its opposite, represents the still lingering mistake, that an unintelligible dialect is a guaranty for ingenuousness, and that slouching shoulders indicate

an upright disposition. It is quite true that a thresher is likely to be innocent of any adroit arithmetical cheating, but he is not the less likely to carry home his master's corn in his shoes and pocket; a reaper is not given to writing beggingletters, but he is quite capable of cajoling the dairymaid into filling his small-beer bottle with ale. The selfish instincts are not subdued by the sight of buttercups, nor is integrity in the least established by that classic rural occupation, sheepwashing. To make men moral, something more is requisite than to turn them out to grass.

Opera peasants, whose unreality excites Mr. Ruskin's indignation, are surely too frank an idealization to be misleading; and since popular chorus is one of the most effective elements of the opera, we can hardly object to lyric rustics in elegant laced bodices and picturesque motley, unless we are prepared to advocate a chorus of colliers in their pit costume, or a ballet of charwomen and stocking-weavers. But our social novels profess to represent the people as they are, and the unreality of their representations is a grave evil. The greatest benefit we owe to the artist, whether painter, poet, or novelist, is the extension of our sympathies. Appeals founded on generalizations and statistics require a sympathy ready-made, a moral sentiment already in activity; but a picture of human life such as a great artist can give, surprises even the trivial and the selfish into that attention to what is apart from themselves, which may be called the raw material of moral sentiment. When Scott takes us into Luckie Mucklebackit's cottage, or tells the story of "The Two Drovers, "-when Wordsworth sings to us the reverie of "Poor Susan,"-when Kingsley shows us Alton Locke gazing yearningly over the gate which leads from the highway into the first wood he ever saw, when Hornung paints a group of chimney-sweepers,more is done toward linking the higher classes with the lower, toward obliterating the vulgarity of exclusiveness, than by hundreds of sermons and philosophical dissertations. Art is the nearest thing to life; it is a mode of amplifying experience and extending our contact with our fellow-men beyond the bounds of our personal lot. All the more sacred is the task of the artist when he undertakes to paint the life of the