the second work also; that excellence of all things is one. The office of painting and sculpture seems to be merely initial. The best pictures can easily tell us their last secret. The best pictures are rude draughts of a few of the miraculous dots and lines and dyes which make up the ever-changing “landscape with figures” amidst which we dwell. Painting seems to be to the eye what dancing is to the limbs. When that has educated the frame to self-possession, to nimbleness, to grace, the steps of the dancing-master are better forgotten; so painting teaches me the splendor of color and the expression of form, and as I see many pictures and higher genius in the art, I see the boundless opulence of the pencil, the indifferency in which the artist stands free to choose out of the possible forms. If he can draw every thing, why draw any thing? and then is my eye opened to the eternal picture which nature paints in the street, with moving men and children, beggars and fine ladies, draped in red and green and blue and gray; long-haired, grizzled, white-faced, black-faced, wrinkled, giant, dwarf, expanded, elfish,—capped and based by heaven, earth and sea. A gallery of sculpture teaches more austerely the same lesson. As picture teaches the coloring, so sculpture the anatomy of form. When I have seen fine statues and afterwards enter a public assembly, I understand well what he meant who said, “When I have been reading Homer, all men look like giants.” I too see that painting and sculpture are gymnastics of the eye, its training to the niceties and curiosities of its function. There is no statue like this living man, with his infinite advantage over all ideal sculpture, of perpetual variety. What a gallery of art have I here! No mannerist made these varied groups and diverse original single figures. Here is the artist himself improvising, grim and glad, at his block. Now one thought strikes him, now another, and with each moment he alters the whole air, attitude and expression of his clay. Away with your nonsense of oil and easels, of marble and chisels; except to open your eyes to the masteries of eternal art, they are hypocritical rubbish.