pparent means; and those of John Lewis for more
complete ideas of power, in reference to the greater difficulties
overcome, and the more complicated means employed. We think him
unfortunate in his selection, as the subjects of these artists are not
such as, of themselves, justly to receive ideas of power, therefore not
the best to illustrate them. He proceeds to "ideas of power, as they
are dependent on execution." There are six legitimate sources of
pleasure in execution--truth, simplicity, mystery, inadequacy,
decision, velocity. "Decision" we should think involved in "truth;" as
so involved, not necessarily different from velocity. Mystery and
inadequacy require explanation. "Nature is always mysterious and secret
in her use of means; and art is always likest her when it is most
inexplicable." Execution, therefore, should be "incomprehensible."
"Inadequacy" can hardly, we think, be said to be a quality of
execution, as it has only reference to means employed. Insufficient
means, according to him, give ideas of power. We otherwise
conclude--namely, that if the inadequacy of the means is shown, we
receive ideas of weakness. "Ars est celare artem"--so is it to conceal
the means. Strangeness in execution, not a legitimate source of
pleasure, is illustrated by the execution of a bull's head by Rubens,
and of the same by Berghem. Of the six qualities of execution, the
three first are the greatest, the three last the most attractive. He
considers Berghem and Salvator to have carried their fondness for these
lowest qualities to a vice. We can scarcely agree with him, as their
execution seems most appropriate to the character of their subjects--to
arise, in fact, out of their "ideas of truth." There is appended a good
note on the execution of the "drawing-master," that, under the title of
boldness, will admit of no touch less than the tenth of an inch broad,
and on the tricks of engravers' handling.

Our graduate dismisses the "sublime" in about two pages; in fact, he
considers sublimity not to be a specific term, nor "descriptive of the
effect of a particular class of ideas;" but as he immediately asserts
that it is "greatness of any kind," and "the effect of greatness upon
the feelings," we should have expected to have heard a little more
about what constitutes this "greatness," this "sublime," which
"elevates the mind," something more than that "Burke's theory of the
nature of the sublime is incorrect." The sublime not bei