ng soul. And that such is the
character--or rather want of character--of many of the figures in his
Last Judgment cannot be gainsaid by his warmest admirers,--among whom
there is no one more sincere than the present writer. But the failures
of great men are our most profitable lessons,--provided only, that we
have hearts and heads to respond to their success.

In conclusion. We have now arrived at what appears to us the
turning-point, that, by a natural reflux, must carry us back to our
original Position; in other words, it seems to us clear, that the
result of the argument is that which was anticipated in our main
Proposition; namely, that no given number of Standard Forms can with
certainty apply to the Human Being; that all Rules therefore, thence
derived, can only be considered as _Expedient Fictions_, and
consequently subject to be _overruled_ by the Artist,--in whose
mind alone is the ultimate Rule; and, finally, that without an
intimate acquaintance with Nature, in all its varieties of the moral,
intellectual, and physical, the highest powers are wanting in their
necessary condition of action, and are therefore incapable of
supplying the Rule.

Composition.

The term Composition, in its general sense, signifies the union of
things that were originally separate: in the art of Painting it
implies, in addition to this, such an arrangement and reciprocal
relation of these materials, as shall constitute them so many
essential parts of a whole.

In a true Composition of Art will be found the following
characteristics:--First, Unity of Purpose, as expressing the general
sentiment or intention of the Artist. Secondly, Variety of Parts, as
expressed in the diversity of shape, quantity, and line. Thirdly,
Continuity, as expressed by the connection of parts with each other,
and their relation to the whole. Fourthly, Harmony of Parts.

As these characteristics, like every thing which the mind can
recognize as true, all have their origin in its natural desires, they
may also be termed Principles; and as such we shall consider them. In
order, however, to satisfy ourselves that they are truly such, and not
arbitrary assumptions, or the traditional dogmas of Practice, it may
be well to inquire whence is their authority; for, though the ultimate
cause of pleasure and pain may ever remain to us a mystery, yet it is
not so with their intermediate causes, or the steps that lead to them.

With respect to Unity of Pu