is evident; but we must not stop here, for that which is predicable of the parts of the whole, is also predicable of each portion of each part; that is, every part may be viewed as a whole,‚—a whole trunk, branch, twig, or leaf,—and then be again subdivided into its parts; and thus considered, it is not all the oaks, but each oak; not all the branches, but each branch; not all the leaves, but each leaf; and every part of all these wholes has these two essentials of being. But we must not stop here, and think that this wonderful principle has exhausted itself. Every slender filament of every trembling leaf, every minute vein that supplies every diminutive pore, every particle of that pore, and every atom of that particle, has also its determinate character, and its definite relation to every other atom in the wide universe. We may proceed till the divisibility of matter conducts us to a something that is indivisible, of which time and space cannot be predicated, that still dwells in every one of those atoms, and that is the principle of life. This marvellous principle of every atom possessing these two essentials to being is universal truth; and to its elucidation and establishment the world of science is furnishing its natural philosophers, whose names are legion; and these men are bending the powers of their reason and exhausting the resources of their laboratories, multiplying proofs from a myriad of analyses. Just after the principle was proclaimed,—and it is very singular that it should not be until after,-new means of discovery have opened on mankind. The achromatic microscope is lending magnitude to the minute; the solar reflecting telescope is bringing the distant vast within the range of human observation; Geology, this new found science, is bestowing its quota of information and its accumulations of evidence; Electricity, this key to a thousand mysteries, is coming laden with its new facts and newer demonstrations; Steam, this modern power, is bringing these proofs from the ends of the earth; and Printing, this magic messenger, is scattering broad-cast these facts and their principles back to the ends of the earth once more! And whether it be in the least fraction of an animalcule, or the vastest combinations of stellar systems, the same grand harmonizing law prevails, for it is universal in the universe of the Lord!

(To be continued.)

DESCRIPTION OF THE NINEVEH SCULPTURES, In Confirmation of Mr. Chalklen's Remarks in the last Number.

No scenes occur more frequently in the bas-reliefs than those that represent their war triumphs and triumphal feasts. A complete series of these was found ranged along one side of a palace at Khorsabad. It may be interesting to give a brief description of some of these. The general style of the sculptures, as represented in the diagrams, will aid in a proper understanding of the description. On one of the bas-reliefs in this series is a picture of the attack of a fortress. This stronghold is formed of two towers, surmounted by triangular battlements, on each of which is seen a man,—one is holding up his arm to heaven in despair, the other hurling a javelin. Two warriors, much larger than the fortress, are kneeling before the towers,--one aiming an arrow at the besieged, the other protecting his companion with a square shield. They are dressed in fringed tunics, their breasts covered with coats of mail, their heads protected by pointed helmets. Standing behind these are two others, similarly accoutred, and occupied in the same way. On a slab near to

this are two more warriors, turned towards another fortress. The shield with which one of these is protecting the other is round, and ornamented with several circular bands, of various designs. On another is depicted a group of prisoners, under the guard of one who seems to be pushing those before him onwards with a long stick. Among the prisoners are three women, attired in long tunics, with short sleeves, one of them leading a naked child by the arm. Another man is following, dressed in a long tunic, fastened by a girdle, his back covered with the skin of some animal, and having on boots reaching to the calves, and open in front, laced by transverse cords. Then comes a scene of active war. The king is seen in a car, drawn by two horses, and followed by a horseman. Three individuals are standing in the car; the king, dressed in the tiara and fringed mantle, with one hand raised, the other holding a bow; behind him an eunuch, holding a parasol over the monarch's head; and beside him the driver, whose arms, stretched out, grasp the reins and the whip. The car is square; the wheels have thick felloes and thin spokes. The trappings of the horses were very rich, some of the colouring of which was preserved; a plume on the head of each horse, and an immense tassel, suspended under the jaw to a strap passing behind the ears; a large band, formed by three rows of fringe, covers the breast, and an ornament of three rows of fringe falls over the flanks. The horseman following the car is dressed in a tunic, and holds

in his right hand the bridle and a lance. His horse is harnessed like the others, having, however, a sort of horn on his head, instead of a plume. The king's tiara was red, so was the wood of his bow. The driver's whip, reins, and the various straps of the harness were of the same colour. The tassels of the fringe were alternately red and blue. The head ornament of the cavalier's horse was stippled with red and blue. On a slab adjacent to this was an eunuch, apparently writing with a stilus, probably noting down the number of human heads piled up before him.

Another warlike scene extends over six slabs. Archers are engaged in attacking a fortress, apparently surrounded by water, which is represented by undulated lines broken now and then by spirals. The lower wall, which is embattled, supports another also embattled and fortified with square towers. This wall seems to surround a hill, on the slope and summit of which are isolated houses. On the tops of these, tongueshaped flakes, painted red, seem intended for flames. The towers have square windows and arched doors. The besieged in various situations are raising their arms to heaven; one, pierced with an arrow, is falling from the summit, and below, around the walls, is a number of poor wretches stripped of their clothes and impaled through the neck on stakes driven into the ground. The besiegers, who are generally represented as of much greater stature than their adversaries, are mounting the walls by means of ladders. In their right hand they hold a lance, in their left a shield, and suspended to a belt, crossed by another, like our modern soldiers, they wear a sword. The king, in a chariot drawn by two horses, is going towards the fortress, and also a warrior in a car. This car, like the others, is square, and borne on wheels having eight spokes; it has also a disc worth observing, on which are several emblems-two lions' heads joined by their occiputs, a horizontal wing projecting from the mouth of each, and upon the heads a ring,-walking upon the horizontal wings are two bulls of ordinary shape, -a personage extending beyond the circumference of the disc is clad in the scooped out robe and scarf, on his head he wears a tiara surmounted by a kind of fleurde-lis, and furnished by a triple pair of horns, and he is bending a bow. Two horsemen are flying before the car who evidently belong to some different nation; their horses have no ornament, and are without saddles.

With few variations this same scene is reproduced again and again. In one of them the back ground is strewed with the dead, not conformably to the rules of perspective, but with an evident determination on the part of the sculptor to do his best in preserving this gratifying feature of the scene. The whole of these seem intended to represent a

battle before taking the fortress. with its walls and battlements. themselves, others seem in despair; some corpses are stretched on the hill on which the palace is built. Some more slabs seem to complete one warlike episode only for another to commence. There is a continuation

Then is to be seen the town attacked Some of the besieged are defending

of

of these containing the same kind of scenery, varied with representations of the slain, stripped and decapitated, and of men trampled under the horses of their conquerors. Again, there is another series of war. like pictures; on one of these bas reliefs appears the battering-ram. The siege of another fortress is described, the besieged appearing to be a negro nation. On some of the slabs are represented warriors swimming across a river, supporting themselves by blown skins. Then follow various groups of prisoners, the results of the battles, some of them driven along by an Assyrian warrior, and showing their nationality in the difference of their costumes. There are also prisoners fettered, kneeling before the king, and other groups of them. In one of them is a woman, carrying a child on her shoulders. In one of the groups the prisoners have all a ring passed through the lower lip, and to the ring a rope is fastened, which the king holds in his hand. Further on in the series prisoners are before the king, and an eunuch is preparing to kill one whose head is enveloped in a hood and who is endeavouring to raise his fettered hands in a supplicating manner. Another series represents the attack of a maritime place, requiring the construction of a bridge or dike, in which numerous boats are employed. The boats are all of the same form, rounded at the stern, the head rising with a marked elevation, terminating at the prow with a horse's head, and spreading out at the poop to look like a fish's tail. In the water which is represented as covering the space of some of the bas reliefs, are various animals, some natural and others symbolic. Fishes, tortoises, crabs, lizards, eels, and shells, human-headed bulls, and human bodies with fishes' tails. Next follows a series representing the triumphal banqueting, and which was placed near the slabs with the war scenery; but into a description of this we must not enter,-the time forbids.

From the nature of these sculptures, and which are similar in their character throughout the excavations, we may discern, I apprehend, that there is truth in saying that the Assyrian represents, according to the Science of Correspondences, a perverted principle in the church, or in the mind of man, and that that is a perverted rationality. Further evidences of this will show themselves as we proceed in the lectures yet before us, to look at the remaining testimony to the correctness of the New Church interpretation of Scripture, to be afforded by this subject.

REVIEW OF "T. R.'s" REMARKS ON "MATTER AND NATURAL SUBSTANCE."

(Concluded from page 75.)

OUR author says "Of created and finite things may be predicated essence and existence, also substance and form, and also life, yea wisdom and love, but all these are created and finite; the reason why such things may be predicated of things created and finite is, not because they have any thing divine, but because they are in the divine, and the divine in them; for all created things are in themselves inanimate and dead, but they are animated and vivified in consequence of the divine being in them, and they in the divine." ("D. L. W.," 53.) He informs us further, that even the spiritual Sun, which he frequently calls the Lord, is a substance. ("D. L. W.," 300.) And that it is from the Lord, and is not the Lord; and that it is not life itself, but that it is void of life in itself. ("D. L. W.," 29.) And that it is called a proceeding because it is produced by divine love and wisdom. ("D. L. W.," 291.) That it is the only substance from which all things are. (“D. L. W.,” 304.) And that it is not God, but that it is an emanation from the divine love and wisdom of God, in like manner its heat and light. ("D. L. W.," 93.) From which you see that there is only one life, and that every thing created is void of life in itself, even the spiritual Sun, which is the proximate proceeding of the divine love and wisdom. And, though he says that the spiritual Sun is void of life in itself, he calls it a living sun, and the sun of this world a dead sun. ("D. L. W.," 157.) Now, when he says that the spiritual Sun is a living Sun, he is speaking relatively; but when he says that the things of that sun have nothing of life in them, he is speaking absolutely; in the latter case, he is speaking in relation to the Infinite and Eternal, who is life itself; but in the former case, he is speaking in relation to the natural sun, and the things of the world; in this case he calls it a living Sun, and says that it is the cause of creation (64), and that if its influence were withdrawn from the natural sun it would perish (93). And yet he has previously given us the following caution:- "Let every one take heed to himself how he thinks that the Sun of the spiritual world is God himself." To which he adds this instruction :-" God himself is a Man." That which first proceeds from his love and wisdom is a fiery spiritual principle, which appears in the sight of angels as a Sun. Wherefore, when the Lord manifests himself to the angels in person, he manifests himself as a MAN; and this sometimes in the Sun, and sometimes out of it." ("D. L. W.," 97.) From which it may be seen, that when spiritual