When America was first discovered, this was the only kind of writing with which the Mexicans were acquainted. But this was a very defective expedient, as in recording facts, pictures can delineate only external objects.

The use of hieroglyphical characters, has been considered as the second stage of the art of writing. These characters consist of certain symbols which are made to represent immaterial or invisible objects, on account of a certain resemblance which such symbols are supposed to have to the objects in question. Thus, an eye was the symbol of knowledge, and a circle, having neither beginning nor end, the hieroglyphic of eternity. This kind of writing, has been most studied in Egypt-There it is found to have been reduced to a regular art. Through this medium their priests have, always, with the greatest "show of wisdom and will-worship," communicated their instructions. They have introduced animals as emblems of moral subjects: for instance the fly, to represent imprudence—an ant, wisdom-and a hawk, to represent victory. The Chinese, Japanese, Tonquinese, and the Coræans, have all used similar characters in writing; but it will always be found confused and enigmatical, and to be an extremely defective medium of knowledge; as also, that of arbitrary marks, as the signs of objects, a manner of writing adopted by the Peruvians.

Our arithmetical figures, are, however, like the hieroglyphical character, signs of things and not of words. They have no dependence whatever, upon words; as each figure is a representation of a number for which it stands; and, consequently, is as well understood by

one nation as another, where they have mutually adopted the use of such figures. To remedy all the defects, ambiguities, and prolixity of the foregoing methods of communication, as the first step, signs were invented, which did not stand distinctly for things, but for the words, by which things were named. This was an alphabet of syllables, which was prior to the invention of our alphabet of letters. It is said, such an alphabet is preserved even to the present period, in Æthiopia and the Indies. But this has been found deficient and ineffectual, as it retains much of that prolixity and confusion which characterize symbolic writing. To whom the world is indebted for the discovery of letters, is a question which, as yet, has never been distinctly settled. We, however, know, they were brought into Greece, by one Cadmus, a Phoenician, who was a cotemporary with king David. His alphabet, however, contained only sixteen letters; the other letters were subsequently added, as appropriate signs for sounds were found to be wanting. The Hebrew, Phoenician, Greek, and Roman alphabets, bear so great a resemblance as to figures, names, and the order of the letters, that there remains no doubt, but they all were derived from one and the same origin. The ancient order of writing, was from the right hand to the left; and this method appears from a variety of old inscriptions, to have prevailed even in Greece. After this, however, the Greeks practised writing alternately from the right to the left, and from the left to the right. This practice was continued until the days of Solon, the celebrated legislator, who gave law to Athens, forty years.

In process of time, beginning from the left and proceeding to the right being found more natural and convenient, this, which is our present order of writing, was adopted, and has generally obtained throughout the civilized world.

This art was first exercised on pillars, and tables of stone-afterwards on plates of softer metals, such as lead; and becoming more extensively practised, some nations resorted to the use of the leaves and bark of certain trees; and others to tablets of wood, which they covered with a thin coat of soft wax, upon which they produced the designed impression with a plate, or stylus of iron. Parchment manufactured from the skins of animals, was a later invention-and paper, which we now use, was an invention of the fourteenth century.

Of Taste; its Characteristics and Pleasures.

Taste, has been defined, to be the power of receiving pleasure and pain from the beauties and deformities of nature and art. It is a faculty, which is common to all mankind.

To have some discernment of beauty and deformity, is no less essential to man, than the faculties of reason and speech. The most prominent characteristics of a cultivated taste are, Delicacy, and Correctness. Delicacy of taste, refers principally to that natural sensibility on which taste is founded; and supposes

a possession of those exquisite and acute organs, or powers, which enable us to discern beauties which elude the notice of a vulgar eye.

Correctness of taste, is a phrase, which denotes the improvement which that faculty receives through the medium and exercise of the understanding. And a man of correct taste will rarely be decoyed by fictitious beauties; but carries a standard of sound sense in his own mind, by which he is enabled to bestow a relative and proper estimate upon those productions of genius which come in his way. This is not, however, an arbitrary principle. subject to the fancy and and caprice of every individual; but admits of a criterion, by which we may determine whether it be true or false. There are beauties which, if displayed in a happy manner will be universally pleasing; and will be ceaselessly and universally admired. In all compositions, whatever powerfully affects the imagination and the heart, will give pleasure to men, of every age, and nation.

By criticism, is to be understood the application of taste, and refined sense, to the several fine arts. It originates wholly in experience; or in the observation of those beauties which have been found generally pleasing to man. Genius is a word which extends much farther than to the objects of taste-it denotes that talent which we have received from our Maker, and which, prepares us to excel in any thing upon which we may be employed. This may be vastly improved by study and art, but can never be by them produced. This faculty is of a higher order than that of taste; as we find many persons who have

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a refined and elegant taste, in the fine and polite arts —but, who are, nevertheless, unable to execute any one of them in an excellent manner.

The principal sources of the pleasures of taste, are sublimity and beauty; whether we refer to objects, or composition. The sublime in writing must always be laid in the nature of the object described.

Of all writings, of any, and every age of the world, the sacred scriptures, afford the most happy and striking instances of the sublime.

Beauty, next to sublimity, is supposed to afford the highest and most exquisite pleasure to the imagination. Colour, figure, motion and imitation, are all considered sources of the pleasures of taste. Melody, and harmony, also, contribute in a high degree to the same end; and wit, humour, and ridicule, afford a great source of pleasure to this faculty-bit we have neither time nor liberty, to extend the extract any further, but proceed to exhibit the subject of Style.

Style, Perspicuity, and Precision.

Style has been defined, to be the peculiar manner in which a man expresses his conceptions by means of language. It is a picture of the ideas which occupy his mind, and of the order in which they are there

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