r with the boys and their toy-boats;
but let us look a little into these trunks--no, we may not--there is
something more in them than our graduate imagines--the very iron
locks and precious leather mean to tell you there is something still
more precious within, worth all the cost of freightage; and you see, a
little off, the great argosie that has brought the riches; and we
humbly think that the ruling passion of a people whose "princes were
merchants, and whose merchants princes," as happily expressed by the
said "red trunks" as the rise of Carthage by the boys and boats; and
in the fervour of this bit of "exquisite" epic choice, probably Claude
did look with delight on the locks and the leather; and, whenever we
look upon that picture again, we shall be ready to join in the
delight, and say, in spite of our graduate's "contempt," there is
nothing like leather. If the boys and boats express the beginning, the
red trunks express the thing done--merchandise "brought home to every
man's door;" so that the one serves for an "idea of relation," quite
as well as the other. And here ends section the first.

The study of ideas of imitation are thrown out of the consideration of
ideas of power, as unworthy the pursuit of an artist, whose purpose is
not to deceive, and because they are only the result of a particular
association of ideas of truth. "There are two modes in which we receive
the conception of power; one, the most just, when by a perfect
knowledge of the difficulty to be overcome, and the means employed, we
form a right estimate of the faculties exerted; the other, when without
possessing such intimate and accurate knowledge, we are impressed by a
sensation of power in visible action. If these two modes of receiving
the impression agree in the result, and if the sensation be equal to
the estimate, we receive the utmost possible idea of power. But this is
the case perhaps with the works of only one man out of the whole circle
of the fathers of art, of him to whom we have just referred--Michael
Angelo. In others the estimate and the sensation are constantly
unequal, and often contradictory." There is a distinction between the
sensation of power and the intellectual perception of it. A slight
sketch will give the sensation; the greater power is in the completion,
not so manifest, but of which there is a more intellectual cognizance.
He instances the drawings of Frederick Tayler for sensations of power,
considering the a