22 THE CHEMISTRY OF CREATION. 



away, and the impression remains deeply en- 

 graved upon his memory ; yet if called upon to 

 account for this impression by separating the 

 individual peculiarities of the painting in the 

 form of an analysis, probably not one spectator 

 out of a thousand could execute the task. The 

 picture was agreeable to his rnind as a whole, and 

 not as a combination of various parts, of different 

 tints, and contrasted colours. 



But if, on the contrary, a student stands 

 wrapped in thoughtful admiration before the 

 same painting, one whose own hand has laboured 

 at the brush and palette, and in whose 'breast 

 the aspiration after the highest honours of his 

 art is nursed in hope, how different the effect 

 upon his mind to that we have just been con- 

 sidering ! Having been carefully tutored in the 

 principles of the art, he is able to recognise 

 in the work before him, the various steps and 

 processes by which the unity and harmony of 

 the whole have been produced. He marks 

 with a scrutinizing and admiring eye the care- 

 ful manner in which the different portions of 

 the picture are worked out so as to be in keep- 

 ing with the tenor of the entire work ; and in 

 various ways he is enabled to detect the deve- 

 lopment of the peculiar principles upon which 

 the art of painting fundamentally rests. The 

 other gazed upon the picture and was pleased 



