violent caricature, you readily detect, with poetic temperaments, the ascendency of involuntary impressions. Familiarize yourselves with the great artists and great authors of your century; study the sketches, designs, diaries, and correspondence of the old masters, and you will again everywhere find the same inward process. We may adorn it with beautiful names; we may call it genius or inspiration, which is right and proper; but if you wish to define it precisely you must always verify therein the vivid spontaneous sensation which groups together the train of accessory ideas, master, fashion, metamorphose and employ them in order to become manifest. We have now arrived at a definition of a work of art. Let us, for a moment, cast our eyes backward, and review the road we have passed over. We have, by degrees, arrived at a conception of art more and more elevated, and consequently more and more exact. At first we thought that the object of art was to _imitate sensible appearances._ Then separating material from intellectual imitation, we found that what it desired to reproduce in sensible appearances is the _relationships of parts. _ Finally, remarking that relationships are, and ought to be, modified in order to obtain the highest results of art, we proved that if we study the relationships of parts it is _to make predominant an essential character._ No one of these definitions destroys its antecedent, but each corrects and defines it. We are consequently able now to combine them, and by subordinating the inferior to the superior, thus to sum up the result of our labor:--"The end of a work of art is to manifest some essential or salient character, consequently some important idea, clearer and more completely than is attainable from real objects. Art accomplishes this end by employing a group of connected parts, the relationships of which it systematically modifies. In the three imitative arts of sculpture, painting, and poetry, these groups correspond to real objects." [Footnote 1: See the two portraits of the "Fornarina," in the Sciarra and the Borghese palaces.] VI. That established, gentlemen, we see, on examining the different parts of this definition, that the first is essential and the second accessory. An aggregate of connected parts is necessary in all art which the artist may modify so as to portray character; but in every art it is not necessary that this aggregate should correspond with real objects; it is sufficient that it exists. If we therefore meet with aggregates of connected parts which are not imitations of real objects, there will be arts which will not have imitation for their point of view. This is the case, and it is thus that architecture and music are born. In short, besides connections, proportions, moral and organic dependencies, which the three imitative arts copy, there are mathematical relationships which the two others, imitating nothing, combine.