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Plotinus passes by an almost insensible transition from the more elementary and analytical to the more constructive portion of his philosophy. This naturally falls into two great divisions, the one speculative and the other practical. It has to be shown by what necessity and in what order the great cosmic principles are evolved from their supreme source; and it has also to be shown in what way this knowledge is connected with the supreme interests of the human soul. The moral aspect of Neo-Platonism is not at first very clearly distinguished from its metaphysical aspect; and both find their most general solution in the same line of thought that has led us up to a contemplation of the ultimate One. For the successive gradations of our ascent represent, in an inverted order, the steps of creative energy by which all things are evolved from their primal source; while they directly correspond to the process of purification through which every soul must pass in returning from the exile of her separate and material existence to the happiness of identification with God. And here we at once come on the fundamental contradiction of the system. What we were so carefully taught to consider as one and nothing more, must now be conceived as the first cause and the supreme good. Plotinus does, indeed, try to evade the difficulty by saying that his absolute is only318 a cause in relation to other things, that it is not so much good as the giver of good, that it is only one in the sense of not being many.468 But after making these reservations, he continues to use the old terms as confidently as if they stood for the ideas usually associated with them. His fundamental error was to identify three distinct methods of connecting phenomena, in thought, with each other or with ourselves. We may view things in relation to their generating antecedents, in relation to other things with which they are associated by resemblance or juxtaposition, or in relation to the satisfaction of our own wants. These three modes of reference correspond to Aristotle��s efficient, formal, and final causes; but the word causation should be applied only to the first. Whether their unfortunate confusion both by Aristotle and by his successors was in any appreciable degree due to their having been associated by him under a common denomination, may reasonably be doubted. It is rather more probable that the same name was given to these different conceptions in consequence of their having first become partially identified in thought. Social arrangements, which have a great deal to do with primitive speculation, would naturally lead to such an identification. The king or other chief magistrate stands at the head of the social hierarchy and forms the bond of union among its members; he is the source of all authority; and his position, or, failing that, his favour, is regarded as the supreme good. Religion extends the same combination of attributes to her chief God; and philosophy, following on the lines of religion, employs it to unify the methods of science and morality.There were plenty such trails in the Sierra Madre, through which the Apache scouts were guiding him to their hostile brothers. Cairness had come along with his own band of scouts. He had seen rough work in his time, but none equal to this. Eight mules stepped a hand's breadth from the path, and lay hundreds of feet below at the base of the precipice, their backs broken under their aparejos. The boots were torn from the men's feet, their hands were cut with sharp rocks. They marched by night sometimes, sometimes by day, always to the limit of their strength. And upon the fourteenth morning they came upon the Chiricahua stronghold. Without the scouts they could never have found it. The Indian has betrayed the Indian from first to last.Landor expressed pleasure, without loss of words.The style of St. Paul's, and, indeed, of all Wren's churches, is neither Grecian nor Gothic, but Italian, influenced by the fashion which Bernini, the Italian architect of Louis XIV., had introduced into France. It is a class of architecture of which the Grecian is the basis, but which is so freely innovated upon as to leave little general resemblance. In its different parts we have columns and pilasters of every Grecian and, indeed, Roman order, pediments, peristyles, architraves, and friezes, mingled up with windows of all sorts, and all kinds of recesses and projections, the fa?ades and intercolumniations ornamented with festoons, and wreaths, and human masks, and the whole surmounted by a great Eastern dome, and by campaniles partaking of[159] all the compilations of the main buildings. St. Paul's itself is a noble building, notwithstanding the manifest gleanings from the antique and the medi?val, and their combination into a whole which has nothing original but their combination into one superb design. Besides St. Paul's, the rest of Wren's churches are disappointing, and we cannot avoid lamenting that he had lost the sense of the beauty of Gothic architecture, especially when we call to mind the exquisite churches of that style which adorn so many of the Continental cities. Whilst the exteriors of Wren's churches show heavily in their huddled-up situations in London streets, their interiors, in which much more of the Grecian and Roman styles is introduced, are equally heavy, and wanting in that pliant grace which distinguishes the interiors of Gothic cathedrals. Perhaps the noblest work of Wren next to St. Paul's is Greenwich Hospital, which is more purely Grecian, and therefore displays a more graceful and majestic aspect. The Palace of Hampton Court, attached to the fine old Tudor pile of Cardinal Wolsey, is a great square mass, in which the Dutch taste of William is said to have set aside Wren's original design. But surely William did not compel him to erect that (in such circumstances) ponderous barbarism of a Grecian colonnade in the second quadrangle of Hampton Court, attaching it to a Gothic building. In fact, neither Wren nor Inigo Jones appears to have had the slightest sense of the incongruity of such conjunctions. Jones actually erected a Grecian screen to the beautiful Gothic choir of Winchester Cathedral, and placed a Grecian bishop's throne in it, amid the glorious canopy-work of that choir. The return to a better taste swept these monstrosities away.<000005>