they
impress persons congenial and partaking of like sympathies with
themselves.

I am informed that it is not material to what sublimated sphere they may
have ascended; it is merely a mesmeric influence which they exert over
their disciples, and this influence can penetrate through all degrees of
matter.

The reason why all artists are not alike inspired by the great masters is
that they are not all subject to mesmeric influence, or on the same plane
of thought.

Every disciple of high art, I have no doubt, has observed the magnetic
quality which seems to pour forth from the canvas of any great master.

This arises from the brain effluvia which they have left upon the canvas,
which is more powerful in its quality than a grain of musk, which will
impart its odor for a hundred years.

The colors which the artists here use are formed upon the same model as
those they have been in the habit of using on earth. They are more
brilliant pigments, but color has always the same origin. Some paint with
the brush and some paint with their fingers.

I had heard it remarked that the spirit had only to breathe on the
canvas, and his thought would be represented, painted, and shaded in a
second of time.

The substance of this statement is correct, but there is a slight
misapplication of the facts.

'Tis true we have the power which we had on earth to a modified degree,
of projecting the desired form upon the canvas. I remember always, after
looking at my sitter, I could trace in imagination on the canvas the
outline and expression of his countenance. This is what we do: the power
of execution is so rapid that the time required for painting a picture
might with you pass for a moment; but it is only a trained artist whose
thoughts and comprehension are skilful enough to produce an effect so
rapidly.

Those who have not learned to give form and shape to their ideas while on
earth have to pursue a more painful and laborious process.

The modern school of color differs widely from the Venetian, being crude,
cold, and sharp in comparison; and, in accounting for this difference, I
can simply state that one can only represent what one sees.

The poetic, dreamy age, when men saw nature as through a veil, is past;
the matter-of-fact, investigating mind has lifted that veil, and now sees
objects as if in mid-day; but, as no condition is stationary, I am told
that the mind is gradually moving on in the world of art to a point where