The same able writer goes on to observe that 'although Pausanias made his tour of Greece nearly five hundred years after the flourishing period of Grecian art, and notwithstanding the extensive system of plunder which had been carried on for centuries, he still found several hundred specimens of painting; and of sculpture, probably owing to the more durable and less portable nature of the material used in that art, he found a much greater number. He has used altogether about two hundred artists of all descriptions; nine only, however, are painters of great fame,Polycrates, Micon, Panænus, Eriphranor, Parrhasius, Nicias, Apelles, Pausias, and Protogenes. The proportion of sculptors is much greater, for the reason already mentioned. We have notices of works of Phidias, Alcamenes, Polycleitus, Myron, Nancydes, Calamis, Onatas, Scopas, Praxiteles, Lysippus, and others.

Pausanias has more experience than judgment. Indeed, his work is a convincing proof that rules of art are posterior to the knowledge of art itself, and that what we might fairly style the "grammar of taste," must be the growth of a long lapse of time. Strict in telling the plain truth about what he saw, he was incapable of approaching art in "the brilliantly heroic spirit of a Jameson, or the steady classification of a Didron. The true classification of art is one of the glorious achievements of recent days. By it, we

have learnt to look at the relative and historical, as well as the positive and individual, value of a work; a picture, a statue, or a fragment of painted glass, has fairly received its place in the encyclopædia of human knowledge, as well as in the feelings of the connoisseur. We have learnt to look upon even the greatest works of the architect or the painter but as single links in the grand chain of progressive civilization; and our theory of criticism has gradually become subjective rather than objective.

It is in this spirit, and this spirit only, that a work like the following should be read. The "Seven Wonders of the World" must not be taken upon the credit of their high-sounding name, but as evidences of the gradual progress of society in the earlier stages of civilization, and of the primitive efforts to realize a perfection in art which steals upon us, so to say, age after age. Let us briefly contemplate what is going on around us, and we shall have no cause to feel ashamed of our own "Wonders of the World."

The Sydenham palace of glass is now a "household word" in more senses than one. We have ourselves met with some fifty or sixty people more or less concerned in this wondrous undertaking. At Salisbury we found the chapter-house converted into a modelling room, and some ten or a dozen workmen busily employed in representing every detail of that lovely cathedral-lovely, we say, in its almost Grecian

purity and unity of design-though we know that some people prefer Canterbury.

We have met with artists, authors, musicians, organ-builders, all bent upon Sydenham-all rich with some scheme, some hope of improvement, which should be worthy of the glass palace prepared for this "wonder-fair" of the earth. And a "wonder-fair" it will be. The most gigantic of Egyptian statues will be represented in its full dimensions; animals which once banqueted upon pre-diluvian trees, will appear in all the vastness that the best still-life representation can exhibit; an organ, compared with which the dimensions of those at York, Birmingham, Harlaem, and Weingarten, sink into insignificance, is planned by more than one adventurer in musical science. We have yet to look forward to see what can be done by the steadfast industry of man, unrestricted by tyrannous cruelty, and working as a free agent. We have yet to learn how the " seven wonders," wrought out with fear and trembling, with the cruelty of the taskmaster, and the lowly suffering of the slave, are destined to bow in their insignificance beside the thousand wonders which will be the result of an age of mercantile prosperity, independence of the operative, and honest, but not slavish, subjection to a legitimate, because well-exercised, government. We have reaped enough during latter years to brighten our hopes as to the grand future

have learnt to look at the relative and historical, as well as the positive and individual, value of a work; a picture, a statue, or a fragment of painted glass, has fairly received its place in the encyclopædia of human knowledge, as well as in the feelings of the connoisseur. We have learnt to look upon even the greatest works of the architect or the painter but as single links in the grand chain of progressive civilization; and our theory of criticism has gradually become subjective rather than objective.

It is in this spirit, and this spirit only, that a work like the following should be read. The "Seven Wonders of the World" must not be taken upon the credit of their high-sounding name, but as evidences of the gradual progress of society in the earlier stages of civilization, and of the primitive efforts to realize a perfection in art which steals upon us, so to say, age after age. Let us briefly contemplate what is going on around us, and we shall have no cause to feel ashamed of our own "Wonders of the World."

The Sydenham palace of glass is now a "household word" in more senses than one. We have ourselves met with some fifty or sixty people more or less concerned in this wondrous undertaking. At Salisbury we found the chapter-house converted into a modelling room, and some ten or a dozen workmen busily employed in representing every detail of that lovely cathedral-lovely, we say, in its almost Grecian

purity and unity of design-though we know that some people prefer Canterbury.

We have met with artists, authors, musicians, organ-builders, all bent upon Sydenham-all rich with some scheme, some hope of improvement, which should be worthy of the glass palace prepared for this "wonder-fair" of the earth. And a "wonder-fair" it will be. The most gigantic of Egyptian statues will be represented in its full dimensions; animals which once banqueted upon pre-diluvian trees, will appear in all the vastness that the best still-life representation can exhibit; an organ, compared with which the dimensions of those at York, Birmingham, Harlaem, and Weingarten, sink into insignificance, is planned by more than one adventurer in musical science. We have yet to look forward to see what can be done by the steadfast industry of man, unrestricted by tyrannous cruelty, and working as a free agent. We have yet to learn how the " seven wonders," wrought out with fear and trembling, with the cruelty of the taskmaster, and the lowly suffering of the slave, are destined to bow in their insignificance beside the thousand wonders which will be the result of an age of mercantile prosperity, independence of the operative, and honest, but not slavish, subjection to a legitimate, because well-exercised, government. We have reaped enough during latter years to brighten our hopes as to the grand future