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artist, or the mere man of taste and natural sensibility, receives most pleasure from the contemplation of works of art; and I think this question might be answered by another as a sort of experimentum crucis, namely, whether any one out of that “number numberless” of mere gentlemen and amateurs, who visited Paris at the period here spoken of, felt as much interest, as much pride or pleasure in this display of the most striking monuments of art as the humblest student would? The first entrance into the Louvre would be only one of the events of his journey, not an event in his life, remembered ever after with thankfulness and regret. He would explore it with the same unmeaning curiosity and idle wonder as he would the Regalia in the Tower, or the Botanic Garden in the Thuilleries, but not with the fond enthusiasm of an artist. How should he? His is “casual fruition, joyless, unendeared.” But the painter is wedded to his art, the mistress, queen, and idol of his soul. He has embarked his all in it, fame, time, fortune, peace of mind, his hopes in youth, his consolation in age: and shall he not feel a more intense interest in whatever relates to it than the mere indolent trifler? Natural sensibility alone, without the entire application of the mind to that one ob-