deeply on color and the absolute truth of lines; but by dint of much research, much thought, much study, he has come to doubt the object for which he is searching. In his hours of despair he fancies that drawing does not exist, and that lines can render nothing but geometric figures. That, of course, is not true; because with a black line which has no color we can represent the human form. This proves that our art is made up, like nature, of an infinite number of elements. Drawing gives the skeleton, and color gives the life; but life without the skeleton is a far more incomplete thing than the skeleton without the life. But there is a higher truth still,—namely, that practice and observation are the essentials of a painter; and that if reason and poesy persist in wrangling with the tools, the brushes, we shall be brought to doubt, like Frenhofer, who is as much excited in brain as he is exalted in art. A sublime painter, indeed; but he had the misfortune to be born rich, and that enables him to stray into theory and conjecture. Do not imitate him. Work! work! painters should theorize with their brushes in their hands."
"We will contrive to get in," cried Poussin, not listening to Porbus, and thinking only of the hidden masterpiece.
Porbus smiled at the youth's enthusiasm, and bade him farewell with a kindly invitation to come and visit him.