of great gifts been more complete than it was, and enabled him to become as great a creator of pictures as he is a great draughtsman and portrait-painter, no doubt his pictures would have resembled Greek statues both in their effect and their method, however different they might have been in subject and in range. To talk about "beauty" being sacrificed to "truth," with Prof. Thausing; or the ideal of the North being "strength" in works of art as in life, with Sir Martin Conway;--is to confuse the issue and deceive oneself. To have mistaken the proper end of art, beauty, by thinking it was "truth" or "strength," is to have failed to labour in the right direction; that is all-who-ever may condone the failure. VI Again, Sir Martin Conway tells us: The laws of perspective can be deduced with certainty from mathematical first principles, the canon of proportions' could only be constructed empirically as the result of repeated observations. Nevertheless, once constructed, it can certainly be used as Dürer suggested. Its use has practically been superseded by the study of anatomy. This last phrase shows us in a flash how far the writer when he wrote it was from apprehending Dürer's meaning. How could the study of anatomy ever do for an artist what Dürer was trying to do? No doubt Sir Martin had Michael Angelo in his mind's eye; and it is true that he studied anatomy, and that his influence has been, on the whole, paramount with artists attempting subjects of this kind ever since. Whether Michael Angelo studied proportion or not, his practice exemplifies Dürer's meaning splendidly. No anatomical research could have led him to construct figures nine to twelve, or even fifteen to twenty, heads high--to do which, as his work developed, more and more became his practice, especially in designs and sketches for compositions. To arrive at such proportions he followed his imaginative instinct. He found that these monstrous deviations from the normal (which, of course, in a general sense he recognised, whether he gave any study to rendering it precise or not) produced the effect on his mind that he wished to produce on the minds of others--an effect that was emotional and peculiar to his habitual moods. We know that his constitution gave him the staying-power, while his fiery Titanic spirit gave him the energy, to carry out and perfect his mighty frescoes and statues at the same heat that the creative hour yields other men for the production of a sketch alone. This giant son of Time was able to live for days and weeks together in a state of mind two or three consecutive hours of which exhaust the average master even. Considering the rapidity and intensity of his mental process, it is a miracle that, in so many works and to so great a degree, he respected the too much and too little of human reason, and allowed himself to be governed by what the Greeks called a sense of measure, instead of yielding to his native impetuosity and