The suggestion that a nation may be assisted in its art by emotional or psychological influences arising from patriotic exaltation, is only an extension of an opinion commonly held, that the individual artist is subject to similar influences, though due to personal exaltation connected with his art. It is as well to point out that there is only one way to produce a work of art, and that is to combine the exercise of the imagination with skill in execution. The artist conceives an idea and puts it into form. He does nothing more. He can rely upon no extraneous influence. It is suggested that to bring about a supreme accomplishment in art, the imagination must be associated with something outside of our power of control--some impulse which acts upon the brain but is independent of it. This unmeasured force or lever is usually known by the term "Inspiration." It is supposed that this force comes to certain persons when they have particular moods upon them, and gives them a great idea which they may use in a painting, a poem, or a musical composition. The suggestion is attractive, but in the long range of historical record there is no evidence that accident, in the shape of inspiration or other psychological lever, has been responsible in the slightest degree for the production of a work of art. The writer of a sublime poem, or the painter of a perfect Madonna, uses the same kind of mental and material labour as the man who chisels a lion's head on a chair, or adds a filigree ornament to a bangle. The difference is one of degree only. The poet or painter is gifted with a vivid imagination which he has cultivated by study; and by diligence has acquired superlative facility in execution, which he uses to the best advantage. The work of the furniture carver or jeweller does not require such high powers, and he climbs only a few steps of the ladder whose uppermost rungs have been scaled by the greater artists.