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 part of the day when employed at his work; and very frequently he rose in the middle of the night to resume his labours. On these occasions, it was his practice to fix the candle, by the light of which he chiselled, on the summit of a paste-board cap which he wore. Sometimes he was too wearied to undress, and he slept in his clothes, ready to spring to his work so soon as refreshed by sleep. He had a favourite device of an old man in a go-cart, with an hour-glass upon it bearing the inscription, Ancora imparo! Still I am learning.

Titian, also, was an indefatigable worker. His celebrated 'Pietro Martire' was eight years in hand, and his 'Last Supper' seven. In his letter to Charles V. he said, "I send your Majesty the 'Last Supper' after working at it almost daily for seven years—dopo sette anni lavorandovi quasi continuamente." Few think of the patient labour and long training involved in the greatest works of the artist. They seem easy and quickly accomplished, yet with how great difficulty has this ease been acquired. "You charge me fifty sequins," said the Venetian nobleman to the sculptor, "for a bust that cost you only ten days' labour." "You forget," said the artist, "that I have been thirty years learning to make that bust in ten days." Once when Domenichino was blamed for his slowness in finishing a picture which was bespoken, he made answer, "I am continually painting it within myself." It was eminently characteristic of the industry of the late Sir Augustus Callcott, that he made not fewer than forty separate sketches in the composition of his famous picture of 'Rochester.' This constant repetition is one of the main conditions of success in art, as in life itself.