1850.] Zoological Provinces. 203 Sunda Islands, and the family of Goniodonts, which are found only in the rivers of South America. A similar narrow limitation occurs also among the terrestrial animals, as the family of Colubris is entirely circumscribed within the boundaries of the warmer parts of the American continent. The appearance during the warmer season of the year of a few species of that family in the Northern States does not make this case less strong. Examples might be multiplied without end to show everywhere special adaptation, narrow circumscription, or representative adaptation of species in different parts of the world; but those mentioned will be sufficient to sustain the argument that animals are naturally autochthones wherever they are found, and have been so at all geological periods; that in northern regions they are most uniform; that their diversity goes on increasing through the temperate zone till it reaches its maximum in the tropics; that this diversity is again reduced in the aquatic animals towards the antarctic pole, though the physical difference between the southernmost extremities of America, Africa, and New Holland seems to have called for an increased difference between their terrestrial animals. We are thus led to distinguish special provinces in the natural distribution of animals, and we may adopt the following division as the most natural. First, the arctic province, with prevailing uniformity. Second, the temperate zone, with at least three distinct zoological provinces: the European temperate zone west of the Ural Mountains, the Asiatic temperate zone east of the Ural Mountains, and the American temperate zone, which may be subdivided into two, the eastern and the western, for the animals east and west of the Rocky Mountains differ sufficiently to constitute two distinct zoölogical provinces. Next, the tropical zone, containing the African zoological province, which extends over the main part of the African continent, including all the country south of the Atlas and north of the Cape Colonies; the tropical Asiatic province, south of the great Himalayan chain, and including the Sunda Islands, whose Fauna has quite a continental character, and differs entirely from that of the islands of the Pacific, as well as from that of New Holland; the American tropical province, including Central America, the West Indies, and tropical South America. New Holland constitutes in itself a special province, notwithstanding the great differences of its northern and southern climate, the animals of the whole continent preserving throughout their peculiar typical character. But it were a mistake to conceive that the Faunæ or natural groups of animals are to be limited according to the boundaries of the mainlands. On the contrary, we may trace their natural limits into the ocean, and refer to the temperate European Fauna the eastern shores of the Atlantic, as we refer its western shores to the American temperate Fauna. Again, the eastern shores of the Pacific belong to the western American Fauna, as the western Pacific shores belong to the Asiatic Fauna. In the Atlantic Ocean there is no purely oceanic Fauna to be distinguished, but in the Pacific we have such a Fauna, entirely marine in its main character, though interspread with innumerable islands extending east of the Sunda Islands and New Holland to the western shores of tropical America. The islands west of this continent seem, indeed, to have very slight relations in their zoölogical character with the western parts of the mainland. South of the tropical zone we have the South American temperate Fauna, and that of the Cape of Good Hope, as other distinct zoölogical provinces. Van Diemen's Land, however, does not constitute a zoological province in itself, but belongs to the province of New Holland, by its zoölogical character. Finally, the antarc tic circle incloses a special zoological province, including the antarctic Fauna, which, in a great measure, corresponds to the arctic Fauna in its uniformity, though it differs from it in having chiefly a maritime character, while the arctic Fauna has an almost entirely continental aspect. The fact that the principal races of man, in their natural distribution, cover the same extent of ground as the great zoological provinces, would go far to show that the differences which we notice between them are also primitive; but for the present we shall abstain from further details upon a subject involving so difficult problems as the question of the unity or plurality of origin of the human family, satisfied as we are to have shown that animals, at least, did not originate from a common centre, nor from single pairs, but according to the laws which at present still regulate their existence. L. A. 1850.] American Art and Art Unions. 205 ART. II. AMERICAN ART AND ART UNIONS.* THERE is a perceptible increase of the love of art in this country. A purer taste is apparent. The productions of the painter and the sculptor excite a wider interest. Foreign travel has opened to multitudes the wonders of the Old World, and the works of ancient genius, there to be seen, have awakened in many minds a new sense of the beauties of art; while the advantages of education here possessed, and the general culture of our people, have enlarged the circle in which works of taste are enjoyed. The fine arts should never be looked upon as mere matters of luxury. Their province is far higher than this. By their potent spell, beauty and truth are made visible to the eye, noble sentiments are embodied, and thus the most holy and exalted feelings are appealed to and quickened. In landscape-painting, the varied aspects of nature, the mountain and valley, the quiet rivulet and breezy coast, appear before us, and, if we are rightly influenced, our minds are brought into harmony with that Being who created all things by his wisdom; while the Historic canvas, in depicting memorable events, calling up the grand achievements of the past, and shedding over them a never-fading lustre, is calculated to move the heart, and excite the mind to more generous efforts. For evil or for good, art has ever had a tremendous power; either corrupting or ennobling the soul, as it has been true or false to its high office. It appeals at once to the senses. Its lesson may be imparted at a glance, and its image remain stamped for ever upon the memory. The preeminent function of art is to exert an elevating and humanizing influence, to touch the finer sensibilities, and bring the mind into sympathy with what is pure and good. And when it does this, revealing to the soul more clearly the greatness of creation and the glory of God, it rises to its true dignity, and becomes of incalculable importance in its effect upon the world. What is Art? It is more than the portrayal, it is the *1. Report of the Council of the Art Union. London. 1847-48. 2. American Art Union. Transactions for 1847 and 1848. VOL. XLVIII. 4TH S. VOL. XIII. NO. II. 18 interpretation, of Nature: not her mere outward fac-simile, but her inward life. The best landscape is not that which represents so many rocks and trees, but that which brings us into mysterious harmony with the scene presented; which gives not only tone and tint, but the power of thought, the infusion of mind. The true portrait is not simply a representation of the length and breadth of features, it is the embodiment of intellect, feeling, soul. There is often character which only a gifted eye may see; it is for genius to detect and portray this inherent principle. In statuary the outward form should be illumined from within. The sentiment that kindled in the bosom of the sculptor must transfuse itself into the work of his hand. The chisel must tremble and glow till the flexible marble throbs with life, and represents, as through a transparent medium, his idea. When Art thus expresses to the world pure and ennobling thought, then her mute language is the language of heaven, and she becomes one of the chief instrumentalities in spiritualizing mankind. This she often has been. In the early ages of the world, she lifted the soul into the realm of the ideal. In Greece she appealed to the better feelings of the heart, and kept alive within it a love for the beautiful. And in Italy, in the midst of a thousand errors, she has embodied the sublime history of the Gospel. At her word the forms of prophets and apostles stood before the eye. The loveliest creations of the human mind sprang into being, and through their presence the principles and promises of Christianity were more fully realized. "Have not," said Sir James Mackintosh,-" have not dying Christs taught fortitude to the virtuous sufferer? Have not holy families cherished and ennobled the domestic affections? The tender genius of the Christian morality, even in its most corrupt state, made a mother and her child the highest object of affectionate superstition." There can be no question but that art has done much, in all ages, to develop and exalt the mind. Who can think of such names as Titian and Rubens and Claude; of Guido, Correggio, and Rembrandt; of Salvator Rosa and Leonardo da Vinci; or above all, of Raphael and Michael Angelo, and not feel that the artist has held a high place amid the august agencies of the Almighty? If there were no great instruction in art, were it only a 1850.] Prospects of Art in America. 207 source of innocent pleasure, yet, in this life of many cares and trials, it would still be worthy of respect. But when it can bring before us the inexpressible loveliness of nature, seizing its fleeting charms and revealing its finer mysteries, when it can give lofty sentiment and impart an enduring existence to the noblest deeds of man, surely our warmer admiration may be awakened, and we should be ready to pay homage to genius, and to do what may be in our power to raise the general standard of taste. If we turn to the condition and prospects of the fine arts in our country, we find much to awaken pleasure and hope. Why should it not be so? Certainly on this continent there are many advantages. The extent of our country gives us every variety of climate and of scenery. We know that the lights and shades in the coloring of Rubens and of Titian had their origin partly in the different aspects of the atmosphere by which each of them was surrounded. The air of Flanders and of Venice was reflected from their canvas. In our own land there is every variety, from the frosty atmosphere of the North to the burning sun of the tropics. The landscape may be studied under the driving mists of spring, or the smoky light of autumn. The reader who has perused the splendid chapters, in the lately published work by an Oxford graduate, upon the sky and the clouds, the water and the mountains, must admit that in our land there are unequalled opportunities of testing their truth. Here are rivers measuring half a continent, and shores washed by an ocean stretching from zone to zone. Here are skies cold and clear as those of Sweden, — or mellow and deep as the transparent heavens of Italy. Where can be found such studies as are presented in our forests and cataracts, our magnificent mountains and shady glens? All that is divinely fair, or awfully sublime, Nature has lavished upon us; and with such a country, may we not justly hope to see a true development of the highest art? It may be said that we are an unimaginative people; absorbed, generally, in practical avocations. But are there not with us the same deep longings and infinite wants which have existed in other times and elsewhere? Is there not the same instinctive love for the beautiful? Does not as natural a refinement of feeling prevail among |