The general conclusion is this: “The artist should be required to make himself the cotemporary of past ages, and become penetrated himself with their spirit. For if the substance of those ideas be true, it remains clear for all time. But to undertake to reproduce with a scrupulous exactness the external element of history, with all its details and particulars,—in a word, all the rust of antiquity, is the work of a puerile erudition, which attaches itself only to a superficial aim. We should not wrest from art the right which it has to float between reality and fiction.” This first part concludes with an examination of the qualities necessary to an artist, such as imagination, genius, inspiration, originality, etc. The author does not deem it obligatory to treat at much length this subject, which appears to him to allow only a small number of general rules or psychological observations. The manner in which he treats of many points, and particularly of the imagination, causes us to regret that he has not thought it worth while to give a larger space to these questions, which occupy the principal place in the majority of æsthetical treatises; we shall find them again under another form in the theory of the arts. [The next number will continue this translation through the treatment of the Symbolic, Classic, and Romantic forms of art.] NOTES ON RAPHAEL’S “TRANSFIGURATION.” [Read before the St. Louis Art Society in November, 1866.] I. THE ENGRAVING. He who studies the “Transfiguration” of Raphael is fortunate if he has access to the engraving of it by Raphael Morghen. This engraver, as one learns from the Encyclopædia, was a Florentine, and executed this—his most elaborate work—in 1795, from a drawing of Tofanelli, after having discovered that a copy he had partly finished from another drawing, was very inadequate when compared with the original. Upon comparison with engravings by other artists, it seems to me that this engraving has not received all the praise it deserves; I refer especially to the seizing of the “motives” of the picture, which are so essential in a work of great scope, to give it the requisite unity. What the engraver has achieved in the present instance, I hope to be able to show in some degree. But one will not be able to verify my results if he takes up an engraving by a less fortunate artist; e.g.: one by Pavoni, of recent origin. II. HISTORICAL.