The study of ideas of imitation are thrown out of the consideration of ideas of power, as unworthy the pursuit of an artist, whose purpose is not to deceive, and because they are only the result of a particular association of ideas of truth. "There are two modes in which we receive the conception of power; one, the most just, when by a perfect knowledge of the difficulty to be overcome, and the means employed, we form a right estimate of the faculties exerted; the other, when without possessing such intimate and accurate knowledge, we are impressed by a sensation of power in visible action. If these two modes of receiving the impression agree in the result, and if the sensation be equal to the estimate, we receive the utmost possible idea of power. But this is the case perhaps with the works of only one man out of the whole circle of the fathers of art, of him to whom we have just referred--Michael Angelo. In others the estimate and the sensation are constantly unequal, and often contradictory." There is a distinction between the sensation of power and the intellectual perception of it. A slight sketch will give the sensation; the greater power is in the completion, not so manifest, but of which there is a more intellectual cognizance. He instances the drawings of Frederick Tayler for sensations of power, considering the apparent means; and those of John Lewis for more complete ideas of power, in reference to the greater difficulties overcome, and the more complicated means employed. We think him unfortunate in his selection, as the subjects of these artists are not such as, of themselves, justly to receive ideas of power, therefore not the best to illustrate them. He proceeds to "ideas of power, as they are dependent on execution." There are six legitimate sources of pleasure in execution--truth, simplicity, mystery, inadequacy, decision, velocity. "Decision" we should think involved in "truth;" as so involved, not necessarily different from velocity. Mystery and inadequacy require explanation. "Nature is always mysterious and secret in her use of means; and art is always likest her when it is most inexplicable." Execution, therefore, should be "incomprehensible." "Inadequacy" can hardly, we think, be said to be a quality of execution, as it has only reference to means employed. Insufficient means, according to him, give ideas of power. We otherwise conclude--namely, that if the inadequacy of the means is shown, we receive ideas of weakness. "Ars est celare artem"--so is it to conceal the means. Strangeness in execution, not a legitimate source of pleasure, is illustrated by the execution of a bull's head by Rubens, and of the same by Berghem. Of the six qualities of execution, the three first are the greatest, the three last the most attractive. He considers Berghem and Salvator to have carried their fondness for these lowest qualities to a vice. We can scarcely agree with him, as their