imitation of particular forms are the grand strokes of the painter executed, but by repairing to the fountain-head of all forms in his mind. Who is the first drawing-master? Without instruction we know very well the ideal of the human form.

A child knows if an arm or a leg be distorted in a picture; if the attitude be natural or grand or mean; though he has never received any instruction in drawing or heard any conversation on the subject, nor can himself draw with correctness a single feature. A good form strikes all eyes pleasantly, long before they have any science on the subject, and a beautiful face sets twenty hearts in palpitation, prior to all consideration of the mechanical proportions of the features and head. We may owe to dreams some light on the fountain of this skill; for as soon as we let our will go and let the unconscious states ensue, see what cunning draughtsmen we are! We entertain ourselves with wonderful forms of men, of women, of animals, of gardens, of woods and of monsters, and the mystic pencil wherewith we then draw has no awkwardness or inexperience, no meagreness or poverty; it can design well and group well; its composition is full of art, its colors are well laid on and the whole canvas which it paints is lifelike and apt to touch us with terror, with tenderness, with desire and with grief. Neither are the artist's copies from experience