This aboriginal might gives a surprising pleasure when it appears under conditions of supreme refinement, as in the proficients in high art. When Michel Angelo was forced to paint the Sistine Chapel in fresco, of which art he knew nothing, he went down into the Pope’s gardens behind the Vatican, and with a shovel dug out ochres, red and yellow, mixed them with glue and water with his own hands, and having, after many trials, at last suited himself, climbed his ladders, and painted away, week after week, month after month, the sibyls and prophets. He surpassed his successors in rough vigor, as much as in purity of intellect and refinement. He was not crushed by his one picture left unfinished at last. Michel was wont to draw his figures first in skeleton, then to clothe them with flesh, and lastly to drape them. "Ah!" said a brave painter to me, thinking on these things, "if a man has failed, you will find he has dreamed instead of working. There is no way to success in our art, but to take off your coat, grind paint, and work like a digger on the railroad, all day and every day." Success goes thus invariably with a certain plus or positive power: an ounce of power must balance an ounce of weight. And, though a man cannot return into his mother’s womb, and be born with new amounts of vivacity, yet there are two economies, which are the best _succedanea_ which the case admits. The first is, the stopping off decisively our miscellaneous activity, and concentrating our force on one or a few points; as the gardener, by severe pruning, forces the sap of the tree into one or two vigorous limbs, instead of suffering it to spindle into a sheaf of twigs.