ers are implied by it. The first of the three functions of
fancy.

This process will be more and more rapid and effective, in proportion to
the artist's powers of conception and association, these in their turn
depending on his knowledge and experience. The distinctness of his
powers of conception will give value, point, and truth to every fragment
that he draws from memory. His powers of association, and his knowledge
of nature will pour out before him in greater or less number and
appositeness the images from which to choose. His experience guides him
to quick discernment in the combination, when made, of the parts that
are offensive and require change.

The most elevated power of mind of all these, is that of association, by
which images apposite or resemblant, or of whatever kind wanted, are
called up quickly and in multitudes. When this power is very brilliant,
it is called fancy, not that this is the only meaning of the word fancy,
but it is the meaning of it in relation to that function of the
imagination which we are here considering; for fancy has three
functions; one subordinate to each of the three functions of the
imagination.

Great differences of power are manifested among artists in this respect,
some having hosts of distinct images always at their command, and
rapidly discerning resemblance or contrast; others having few images,
and obscure, at their disposal, nor readily governing those they have.

Where the powers of fancy are very brilliant, the picture becomes highly
interesting; if her images are systematically and rightly combined, and
truthfully rendered, it will become even impressive and instructive; if
wittily and curiously combined, it will be captivating and entertaining.

Sec. 6. Imagination not yet manifested.

But all this time the imagination has not once shown itself. All this
(except the gift of fancy) may be taught, all this is easily
comprehended and analyzed; but imagination is neither to be taught, nor
by any efforts to be attained, nor by any acuteness of discernment
dissected or analyzed.

We have seen that in composition the mind can only take cognizance of
likeness or dissimilarity, or of abstract beauty among the ideas it
brings together. But neither likeness nor dissimilarity secures harmony.
We saw in the chapter on unity that likeness destroyed harmony or unity
of membership, and that difference did not necessarily secure it, but
only that particular imperfe