development of some great principle, or the illustration of some truth not known to the multitude of men, demands that the work of many years shall be crowded into one; or, that the power of truth shall be illustrated in one glorious moment of martyrdom; when, at the call of duty, life must either be shortened by an intense devotion to a great work, or its thread be suddenly snapped as a testimony to the faithfulness of the laborer, and the greatness of the work in which he was engaged. The higher life, the progress of the race, may require the sacrifice of the lower life of the individual. Thus, we believe, passed away the beloved teacher, whose memory we this day, with a sad pleasure, recall. He entered the public educational field when the skies were dark, when the star of hope had scarcely risen, and was obscured by the cloud of an adverse public sentiment; when the normal schools were, even by their friends, considered only as an experiment, and one that, in the opinion of many experienced and able statesmen, would prove an entire failure. It was to a cause thus unpromising that he gave the whole energy of his soul. With an untiring industry, he devoted to his school his days and his nights. He engaged in hard and continuous study, not from motives of ambition, but from a deep sense of responsibility in respect to his school, and to its influence in advancing the cause of education. Nor did the necessity for such study arise from a defective education, but from a determination to adapt his instructions to the mental and moral wants of his pupils, and of those whom they, in their turn, were to educate. He was earnestly desirous that, so far as he could exert any influence upon the character of the public schools, that influence should be good, should tend to their elevation and improvement, and to the advancement of the cause of popular education; and this, not for his own sake, that he might acquire a reputation, and occupy an honorable position in the sight of men, but for the sake of the thousands whose hearts and minds are formed, in a great measure, in those conservators of New England virtue and intelligence,-the public schools.

Such were his aims, and the amount of labor which he thought necessary to their accomplishment, could be sustained only by a robust physical frame, and could be performed only by a well-balanced and active mind, guided by the highest principles, and acting under the influence of a determined will. For such a work we believe his mental and moral endowments to have been eminently fit; but, in his physical system, the necessary conditions were not supplied; the sword was too sharp for the scabbard, the energies of the spirit were too mighty for the clay, and the mortal coil was shuffled off. Shall we now say that his life was not sacrificed in the discharge of a high

and holy duty; and, shall we doubt that Heaven approved the offer. ing? Every heart instinctively answers, no. The exigency demanded the sacrifice. His example was needed to show us, his pupils, what manner of spirit we must be of; with what forgetfulness of self we inust devote ourselves to the noble work whereon we have entered; how, with an eye single to Truth and the Right, in spite of difficulties and discouragements, we must still labor on, in patience and in faith, believing that the harvest will surely come, whether we are among the reapers or not.

And, was the work of Mr. Tillinghast worth such a sacrifice? Did he, in his short life, achieve results at all commensurate with the time, the labor, and the life that were devoted to them? Let the appeal be made to every individual who ever enjoyed the benefit of his instructions. My brother, or my sister, whence came your higher views of life and its duties? Who opened to your mind a new world of intellectual life and moral perceptions, of which you had before never had a glimpse? Who stirred your soul to higher aspirations than you had ever felt, and roused it to nobler purposes than you had as yet formed? Who waked up within you a moral energy that, when you do not permit other influences to smother it, makes you ashamed of low views of duty, of feeble and ill-directed effort, and enkindles within you a glowing earnestness in your work? On this point, I am sure that language fails to express what is deeply and clearly felt in the heart of every pupil of his, who is with us to-day. We all feel that the great work which he did for us, that which we most highly value, is precisely that which can not be represented in speech. That higher teaching was not conveyed to us in words, and words can not impart it to others. If imparted at all, it must be by the sympathy of spirit with spirit. If, therefore, we would do for our pupils what he did for us, we must teach as he taught, by possessing ourselves the qualities with which we would have their characters adorned, and by entering upon our work with a zeal and an earnestness that will bring the minds of our pupils into sympathy with our own; remembering that only from the fullness of our own hearts, and the perfection of our own characters, can we have the instruction to impart; and, only by a glowing and energizing enthusiasm can we make it efficient upon the character of others.

Such, friends and fellow-pupils, so far as my imperfect ability could sketch him, in so brief a time, was the man at whose feet it has been our high privilege as well as our delight, to sit in the attitude of reverent and attentive listeners. I have endeavored to be strictly just, to state not only the precise truth, but also to present that particular

combination of truths that would give the justest and truest idea of the man. I have sought to weigh my words, to abstain from unwarranted statements, and excess of panegyric, and I am confident that my expressions fall below what you feel in your hearts. We all feel that we are cherishing the memory of no ordinary man, and that the language of an ordinary occasion is not adapted to our use to-day. It is not only our teacher that has fallen, but a standard-bearer in the great educational army. When we consider his exalted character, and the paternal relation in which he stood to us all, with what sincerity, and what loneliness of heart, are we ready to exclaim:

"He was a man, take him for all in all.

I shall not look upon his like again."

On such an occasion as this, it seems eminently fit that the feelings which we have been for years cherishing, without an opportunity for public utterance, should be freely expressed. Let us then lay upon his grave the tribute of our respect and affection; and, as we return to the scenes of our accustomed labor, let us learn the lesson of this experience, let us open our minds to receive and to cherish the influence that goes forth from the life and character of our departed friend and teacher, and let us see that our own lives and the teachings we impart, shall not be altogether unworthy of that which we have received.

V. ART.-ITS IMPORTANCE AS A BRANCH OF EDUCATION.

BY M. A. DWIGHT.

[Continued from page 418.]

GEMS. The engraving of stones, like the engravings of coin dies, was an art of gradual growth, having for its first object, the purposes of economy and traffic; that of sealing stores and treasures as well as documents. At the same time, metal and wooden seals were used with devices of little significance.

Many ancient signets were found in the form of cylinders, and were probably suspended about the person. As art progressed, signets were fashioned into rings, and worn upon the hand as an ornament, a custom which had its influence upon the dactyloglyphist, who with this stimulus, attained a degree of skill in his own department proportioned to other branches of formative art.*

The art of working in hard and precious stones advanced at a very early period, after the example of the Phoneico Babylonian stone cutters, from a rude incising of round holes, to the careful engraving of entire figures in the even antique style. Of the Babylonian sculptures, but few remain; therefore, little can be known of their style of art. According to Herodotus, every Babylonian had his signet, of these many are found, especially the cylinders in the neighborhood of Babylon, consisting of hard and precious stones, the chalcedony, hæmatite and agate; and although the use of these was transferred from the Chaldeans to the Magi, from the religion of Baal to the worship of Ormuzd, yet they might be understood and explained from Babylonian customs and usages. We can even yet recognize conjectionally, some of the chief deities of the Roman empire, which is however too little known to us to admit of detailed explanations. The workmanship of these cylinders is of various merit, often consisting almost entirely of round cavities, sometimes very careful and elegant. In design, the style corresponds very much with the monuments of Persepolis.

In the third period of art, the engravings of stones was so much improved, that the luxury of ring wearing, raised the art of the

All rings were at first signet rings; then they became ornaments and badges of honor Uuengraved gems were also readily worn, and the engraved everywhere else applied.

dactyloglyphist to the greatest height that it was capable of attaining in proportion to other branches of the formative art, although the accounts of writers do not mention the names of any artists of this class, except that of Pyrgoteles, who engraved Alexander's signet ring. In gems also, we occasionally find a composition and treatment of forms corresponding to the Phidian sculptures, but works of this description, in which the spirit of the school of Praxiteles is manifested, are far more numerous.

In the fourth period, from the 111th to the 158th Olympiad, the luxury in engraved stones was carried to a still greater height, particularly from the custom derived from the East, and were chiefly maintained by the court of the Seleucidae, of adorning cups, lamps and other works in metal with gems. For this and other purposes, where the figure on the stone was merely for the purpose of ornament, and not to form impressions like a seal, the gems were cut in high relief, as cameos, for which variegated onyxes were preferred. To this class, belong the cups and goblets entirely composed of precious stones (onyx-vessels) which made their appearance at the same time. In this art were executed works wonderful for their beauty of design and technical perfection, particularly in the early stages of the period, when art was still animated by a higher spirit.

The work in precious stones is either intaglio, a depressed form, or cameo, a raised form. The principal object of the intaglio is, the impression; that of the cameo, ornament. For intaglios, transparent stones of uniform color were used; also, spotted and clouded. Of precious stones, so called, scarcely any were used but the hyacinth and amethyst. Many culled half precious stones were used, especially the numerous varieties of agates. Among these were the highly esteemed cornelian, the chalcedony, and the plasma di smeraldo. For the cameos, variegated stones were used, such as the onyxes, consisting of smokey brown and milk white layers, and the sardonyxes, which added a third layer of cornelian. These were also frequently produced by artifice, as well as similar kinds of stones, which oriental and African commerce brought to the ancients, of surprising and now unknown beauty and size.

Passing from the engravers hands, stones designed for signet rings, went to the goldsmith who set them. The form of the sling was the favorite one. Although in the signet-ring, the device was certainly the principal thing, the name is sometimes added; and here it must be assumed, that a name, which readily strikes the eye, must rather be referred to the possessor than to the artist of the gem. The fact that both States and individuals had seals, accounts perhaps for the