ed, can er  fifty years, or since ting began, t reated a story imaginatively? By t ed, t it o direct  to be arranged by s leading or collateral points yrannically , t  treat it ot ion? Any t ed to ions, not merely so mucruto convey a story  t individualising property, reated distinct in feature from every ot, o common appre identical; so as t ure in t t --  demand t it s in any o itian ed, in t ogetimes in t;Ariadne,quot; in tional Gallery? Precipitous, yr rout about e places, drunk  tan. time present. itelling of tory an artist, and no ordinary one, mig, sa from tive spirit titian  time, and laid it contributory  to one simultaneous effect. it all ringing  idly casting  -- racted from till pacing tary s-silence, and in almost tude,  daybreak to catc glances of t bore ahenian.

    s miraculously co-uniting; fierce society, ude still absolute; noon-day revelations, s of t Bacc Ariadne; tories, ime; separate, and ist made t to till more, ure at , y desolation of t previous? merged in t of a flattering offer met ance. t for t ligo be pieced up by a God.

    e , from a picture by Rapican. It is tation of to Adam by ty. A fairer mot imagine, and a goodlier sire per tters subordinate to tion of tuation, displayed in traordinary production. A tolerably modern artist empering certain raptures of connubial anticipation, able ackno to tenance of t bridegroom; somettention of toy, and t blest it -sigist of a aken care to subtract someto en tual one. tion-goer, from t o last years so look for. It is obvious to  at a lo in a picture, t for respects of draering itude as one, or peruation of Adam. Singly on s t ted miracle. t is seized by tuitive artist, per self-conscious of , in ions moment ract -- ime to spring up, or to battle for indecorous mastery. -- e ly admired neoteric, in ing a fiction, one of t severely beautiful in antiquity -- to do Mr. ----- justice, ed laudable orcting seclusion, and a veritable dragon (of ion), looking over into t out back none but a quot;still-climbing ; could o catc ternary of Recluses. No conventual porter could keep ter tos ;lidless eyequot;  only sees t none do intrude into t Privacy, but, as clear as daylig none but  Diabolus by any manner of means can. So far all is ude ra t ists courage seems to o pity ty co comfort tude tendants, maids of o tiquette at a court of teentury; giving to te cre, if  excuse tlemen. tteauis ary mystery-the

    Daughree,

    t sing around tree ?

    t treated t.

    tings or ratupendous arcectural designs, of a modern artist, ions to tto. ter, o stagger it. oructures are of t order of terial sublime. ranscripts of some elder y artist, tisfy our most stretcions of tique  is a pity t t side, tion of tist s, and appears defective. Let us examine t of tory in t;Bels.quot; e roduce it by an apposite anecdote.

    t orians of t at t dinner given by te King (t) at teristic frolic s  and admiring; t profuse and admirable; ts lustrous and oriental; tly dazzled e, among -cellar, brougoself a toood conspicuous for its magnitude. And no C a signal given, ts , and a ransparency ered in golden letter-

    quot;Brig;

    Imagine ts; ters, jes, moulted upon t, and picked up t morning by t pages. Mrs. Fitzess of * * * * tle, till to be restored by calling in fres t a pantomime  up by t Garden, from s  folloual rallyings, tions t quot;t mucened,quot; of the assembled galaxy.

    t of time in ture exactly anso transparency in te. tter, tle, ttinesses ened by consternation; tiers fear ation; all t o aken place in a mob of Brigiers, sympated surprise of ted by t t of consternation  t only of a gun having gone off!

    But is t, ty for tion of tnessed at a tre,  of a supernatural terror? ting judgments, urbed, restless, and bent upon escape. tless, passive.  appeared before Elip, and tood up,  in ts of temanite to ring to call up ts? But let us see in text o justify all ternation.

    From t appears t Bels feast to a ted, hen follows --

    quot;In te over against tick upon ter of t of t e. tenance roubled  ts of e one against anot;

    text. By no  can it be ot t to t roubled. Not a s being seen by any else t, not even by takes for terpretation of ted to less, by o onis trouble and tenance in t does not appear to  only, as Josepo t. quot;t of t from ing ten.quot; asm as past.

    t becomes of tiplication of to a royal conscience, singly expressed -- for it ;t; simultaneously impressed upon tiers, ly nor grammatically?

    But admitting tists oory, and t t iers -- let it o all Babylon -- tenance troubled, even so enances, as of an individual man, been troubled; bo doupor-fixed,  of struggling  inevitable judgment.

    Not all t is optically possible to be seen, is to be sure. tedly d individualities in a quot;Marriage at Cana,quot; by Veronese, or titian, to texture and colour of ts, ttering upon tal and fass; for at suco be curious. But in a quot;day of judgment,quot; or in a quot;day of lesser  divine,quot; at t of Belse scene, as tual eye of an agent or patient in te scene inction. Not only ttire and jeo tical eye of tely as ticised picture,-- but peries of anatomical science, and studied diversities of posture in t subjects. them.

    By a ion, t masters of painting got at true conclusions; by not sual appearances, t is, all t o be seen at any given moment by an indifferent eye, but only  be supposed to see in tentous action. Suppose t of to be seen -- ectural proportions, differences of public and private buildings, men and  tanding occupations, tures, attitudes, dresses, in some confusion truly, but p  t eclipsing moment, y, and ies, o contemplate tanding at tle, t o turn over iquarian coolness ts and pans of Pompeii.

    quot;Sun, stand till upon Gibea;  ion, sees aug t-stretcer and lesser ligless to be seen s and  defiles, and all tances and stratagems of  erposition of t in ture of t by tist of t;Belsquot; no ignoble o an anecdote of t;dart traversequot; for some minutes, before it s modern art alone, but ancient, o be found if anyed erring, from defect of tive faculty. to sernatural in painting, transcending ting  picture at Angersteins. It seems a tself struggles itude at second life besto cannot forget t it   t it is a body. It o tell of ts. as it from a feeling, t tanders, and till more irrelevant  a distance, ly old of t is a glorified  respond adequately to tion -- t ttributed to Micy Sebastian unfairly robbed of ter erest? No t indifferent passers-by ual scope of t at to ly, or not at all, reac  ion of it admit of sucs? can it t all? or ing league to tion can t, of a presential miracle?

    ere an artist to paint upon demand a picture of a Dryad, ate of expectation, tron , or oug to be fully satisfied iful naked figure recumbent under retc tains, and falls of pellucid er, and you  so in a roug  is long since -- ted cers. Long, grotesque, fantastic, yet iful in convolution and distortion, linked to ural tree, co-ting s limbs ill boted branced members -- yet table lives sufficiently kept distinct -- ion of tures,  must be seen; analogous to, not transformations.

    to t subjects, and, to a superficial compre barren, t Masters gave loftiness and fruitfulness. t subjects ties of treatment from tions to some and Past or Future.  still linger about tican -- treated t of t;Building of t; It is in t scriptural series, to oons. t are timid and t. As tic guess at Rome, from ted no inferences beyond t of a  and Cornuto; so from t, of mere mec inctively turn aiture  oolory associations. t at Ce and ts intellectual eye. But not to tical preparations in ta Veccructions, o be conservatory of tensity of tion,  of sigion. triarc, and ions. And ts -- tary but sufficient t and earnestness of a Demiurgus; under some instinctive ratec-muscled; every one a o t in sounding caverns under Mongibello eropes, and Pyracmon, So  should repair a world!

    Artists again err in tic orial objects. In tter, terior accidents are nearly every ties as noties and corpulence of a Sir Joaff -- do t us perpetually in truded upon our conceptions one time for ninety-nine t  in admiration at tive moral or intellectual attributes of ter? But in a picture Otters of externality, must be to ter moments, telligenced Quixote -- t Star of Knigender by eclipse -- ed itself, divested from t of a Sanc at te. t man aking , ist t pictures Quixote (and it is in t t  our Exions) in ting mirt tarved steed. e o see t counterfeited, y. Conscious of te, ;strange bedfello; Ses!  into te tions of a super-cry,  ty net-ing o be a guest s like t;truly, fairest Lady, Actaeon  more astonis tain, ty: I commend time, and to so all sorts of people, especially of t your person so be; and if ts, as take up but a little piece of ground, sake up t neo pass t you may give credit to tion, be least  promisete de la Manco your ; Illustrious Romancer! ;fine frenzies,quot;  subject, as in t, to be exposed to to be monstered, and s tless banquets of great men? as t pitiable infirmity,  misleads o  more t infliction enoug men by studied artifices must devise and practise upon to inflame ise upon ted king at te, and t o play ts, e suffer in Duc t unhy nobleman.*

    In t Adventures, even, it needed all t of t consummate artist in t t seen, to keep up in ttributes of ter  relaxing; so as absolutely t t ever obtrudes itself as a diso laug, rato indulge a contrary emotion? Cervantes, stung, perco tes ties of ter, in t , lost t idea to taste of emporaries. e kno in t day t icipating, ually o er did to ;Guzman de Alfarac;-t some less kno it or to out -- bid ies, t, and  up t else ead of t te of semi-insanity -- t secondagion, caugronger mind infected -- t ive cunning, and ary deference, o accompanied er -- t -- does itute a doime to lay, if not actually laying  t Sance is become a -- treatable lunatic. Our artists handle him accordingly.

    * Yet from t, our cried-up pictures are mostly selected; ting-h beards, amp;c.