It is llie renovation of life and joy to all animated beings, that constitutes Ihis great jubilee of nature: the young of animals bursting into existence,the simple and universal pleasures which are diffused by the mere temperature of the air, and the profusion of sustenance,the pairing of birds,the chccrful resumption of rustic toils,Ihe great alleviation of all the miseries of poverty and sickness,our sympathy w ith llie young life, and the promise and the hazards of the vegetable creation,the solemn, yet cheering, impression of Ihe constancy of Nature to her great periods of renovation,and the hopes that dart spontaneously forward inlo the new circle of exertions and enjoymenls that is opened up by her hand and her example. Such are somo of” the conceptions that are forced upon us by the appearances of reluming Spring, and lhat seem to account for the emotions of delight with which these ap|earances are hailed, by every mind endowed with any degree of sensibility, somew hat better than the brightness of the colours, or the agreeableness of the smells, thai are then presented lo our senses.They are kindred conceptions that constitute all Ihe beauly of childhood. The forms and colours that are peculiar lo lhat age, are not necessarily or absolutely beautiful in themselves; for, in a grown person, llie same forms and colours would be either ludicrous or disgusting. It is their indestructible connexion with the engaging ideas of innocence,of careless gaiety,of unsuspecting confidence;made still more tender and attractive by the recollection of helplessness, and blameless and happy ignorance,of the anxious affection that watches over all their ways,and of the hopes and fears that seek to pierce futurity, for those who have neither fears, nor cares, nor anxieties for themselves. These few illustrations will probably be sufficient to give our readers a general conception of the character and the grounds of that theory of beauty which we think is established in the work before us. They are all examples, it will be observed, of the first and most important connexion which we think may be established between external objects and Ihe sentiments or emotions of the mind; or cases, in which the visible phenomena are the natural and universal accompaniments of the emotion, and are consequently capable of reviving that emotion, in some degree, in the breast of every beholder. If tho tenor of those illustrations has been such as to make any impression in favour of the general theory, we conceive that it must be very greatly confirmed by the slightest consideration of the second class of cases, or those in which the external object is not Ihe natural and necessary, but only the occasional, oraccidenlal, concomitant of the emotion which it recals. In the former instances, some conceplion of beauty seems to be inseparable from the appearance of the objects.