Painting, and the conclusion was reached that colour was
consecrate to passion and sculpture to thought; while
yet in some sculptures, like the Niobe, for example,
feeling was recognized, but on a grand, universal scale.
The question “What is life?” occupied one meeting and brought out many differences of view, which Margaret at last took up into a higher' ground, beginning with God as the eternally loving and creating life, and recognizing in human nature a kindred power of love and of creation, through the exercise of which we also add constantly to the total sum of existence, and, leaving behind us ignorance and sin, become god-like in the ability to give, as well as to receive, happiness.
With the work of this winter was combined a series of evening meetings, five in number, to which gentlemen were admitted. Emerson was present at the second of these, and reports it as having been somewhat encumbered by the headiness or incapacity of the men," who, as he observes, had not been trained in Margaret's method.
Another chronicler, for whose truth Emerson vouches, speaks of the plan of these five evenings as a very noble one. They were spoken of as Evenings of Mythology, and Margaret, in devising them, had relied upon the more thorough classical education of the gentlemen to supplement her own knowledge, acquired in a legs systematic way. In this hope she was disappointed. The new-comers did not bring with them an erudition equal to hers, nor yet any helpful suggestion of ideas. The friend whom we now quote is so much impressed by Margaret's power as to say: "I cannot conceive of any species of vanity living in, her presence. She distances all who talk with her." Even Emerson served
