body, in order to produce grace and animation; that his outline must be undulating and swelling, to give grandeur; and that the eye must be gratified with a variety of colours; when he is told this with certain animating words of spirit, dignity, energy, greatness of style, and brilliancy of tints, he becomes suddenly vain of his newly-acquired knowledge, and never thinks he can carry those rules too far. It is then that the aid of simplicity ought to be called in to correct the exuberance of youthful ardour." We may add that hereby, too, is shown the danger of particular and practical rules; very few of the kind are to be found in the "Discourses." Indeed the President points out, by examples from Raffaelle, the good effect of setting aside these academical rules. We suspect that they are never less wanted than when they give direction to attitudes and forms of action. He admits that, in order "to excite attention to the more manly, noble, and dignified manner," he had perhaps left "an impression too contemptuous of the ornamental parts of our art." He had, to use his own expression, bent the bow the contrary way to make it straight. "For this purpose, then, and to correct excess or neglect of any kind, we may here add, that it is not enough that a work be learned--it must be pleasing." Pretty much as Horace had said of poetry, "Non satis est pulchra esse poemata, _dulcia_ sunto." To which maxim the Latin poet has unconsciously given the grace of rhyme-- "Et quocunque volent animum auditoris agunto."