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of art to educate the perception of beauty. We are immersed in beauty, but our eyes have no clear vision. It needs, by the exhibition of single traits, to assist and lead the dormant taste. We carve and paint, or we behold what is carved and painted, as students of the mystery of Form. The virtue of art lies in detachment, in sequestering one object from the embarrassing variety. Until one thing comes out from the connection of things, there can be enjoyment, contemplation, but no thought. Our happiness and unhappiness are unproductive. The infant lies in a pleasing trance, but his individual character and his practical power depend on his daily progress in the separation of things, and dealing with one at a time. Love and all the passions concentrate all existence around a single form. It is the habit of certain minds to give an all-excluding fulness to the object, the thought, the word, they alight upon, and to make that for the time the deputy of the world. These are the artists, the orators, the leaders of society. The power
to detach, and to magnify by detaching, is the essence of rhetoric in the hands of the orator and the poet. This rhetoric, or power to fix the momentary eminency of an object, --so remarkable in Burke, in Byron, in Carlyle, - the painter and sculptor exhibit in color and in stone. The power depends on the depth of the artist's insight of that object he contemplates. For every object has its roots
in central nature, and may of course be so exhibited to us as to represent the world. Therefore, each work of genius is the tyrant of the hour, and concentrates attention on itself. For the time, it is the only thing worth naming to do that, be it a son
net, an opera, a landscape, a statue, an oration, the plan of a temple, of a campaign, or of a voyage
of discorery. Presently we pass to some other object, which rounds itself into a whole, as did the first; for example, a well-laid garden: and nothing seems worth doing but the laying out of gardens. I should think fire the best thing in the world, if I were not acquainted with air, and water, and earth. For it is the right and property of all natural objects, of all genuine talents, of all native properties whatsoever, to be for their moment the top of the world. A squirrel leaping from bough to bough, and making the wood but one wide tree for his pleasure, fills the eye not less than a lion, - is beautiful, self-sufficing, and stands then and there for nature. A good ballad draws my ear and heart whilst I listen, as much as an epic has done before. A dog, drawn by a master, or a litter of pigs, satisfies, and is a reality not less than the frescoes of Angelo. From this succession of excellent objects, we learn at last the immensity of the world, the opulence of human nature, which can run out to infinitude in any direction. But I also learn that what astonished and fascinated me in the first work astonished me in the second work also ; that excellence of all things is one.
The office of painting and sculpture seems to be merely initial. The best pictures can easily tell us their last secret. The best pictures are rude draughts of a few of the miraculous dots and lines and dyes which make up the ever-changing “ landscape with figures” amidst which we dwell. Painting seems to be to the eye what dancing is to the limbs. When that has educated the frame to self-possession, to nimbleness, to grace, the steps of the dancing-master are better forgotten; so painting teaches me the splendor of color and the expression of form, and, as I see many pictures and higher genius in the art, I see the boundless opulence of the pencil, the indifferency in which the artist stands free to choose out of the possible forms. If he can draw every thing, why draw any thing ? and then is my eye opened to the eternal picture which nature paints in the street with moving men and children, beggars, and fine ladies, draped in red, and green, and blue, and gray ; longhaired, grizzled, white-faced, black-faced, wrinkled, giant, dwarf, expanded, elfish, -capped and based by heaven, earth, and sea.
A gallery of sculpture teaches more austerely the same lesson.
As picture teaches the coloring, so sculpture the anatomy of form. When I have seen fine statues, and afterwards enter a public assembly,
I understand well what he meant who said, “When I have been reading Homer, all men look like giants.” I too see that painting and sculpture are gymnastics of the eye, its training to the niceties and curiosities of its function. There is no statue like this living inan, with his infinite advantage over all ideal sculpture, of perpetual variety. What a gallery of art have I here! No mannerist made these varied
groups and diverse original single figures. Here is the artist himself improvising, grim and glad, at his block. Now one thought strikes him, now another, and with each moment. he alters the whole air, attitude, and expression of his clay. Away with your nonsense of oil and easels, of marble and chisels : except to open your eyes to the masteries of eternal art, they are hypocritical rubbish.
The reference of all production at last to an aboriginal Power explains the traits common to all works of the highest art, – that they are universally intelligible ; that they restore to us the simplest states of mind ; and are religious. Since what skill is therein shown is the reappearance of the original soul, a jet of pure light, it should produce a similar impression to that made by natural objects. In happy hours, nature appears to us one with art; art perfected, the work of genius. And the individual, in whom simple tastes and susceptibility to all the great human influences overpower the accidents of a local and
special culture, is the best critic of art. Though we travel the world over to find the beautiful, we must carry it with us, or we find it not. The best of beauty is a finer charm than skill in surfaces, in outlines, or rules of art can ever teach, namely, a radiation from the work of art of human character, - a wonderful expression through stone, or canvas, or musical sound, of the deepest and simplest attributes of our nature, and therefore most intelligible at last to those souls which have these attributes. In the sculptures of the Greeks, in the masonry of the Romans, and in the pictures of the Tuscan and Venetian masters, the highest charm is the universal language they speak. A confession of moral nature, of purity, love, and hope, breathes from them all. That which we carry to them, the same we bring back more fairly illustrated in the memory. The traveller who visits the Vatican, and passes from chamber to chamber through galleries of statues, vases, sarcophagi, and candelabra, through all forms of beauty, cut in the richest materials, is in danger of forgetting the simplicity of the principles out of which they all sprung, and that they had their origin from thoughts and laws in his own breast. He studies the technical rules on these wonderful remains, but forgets that these works were not always thus constellated ; that they are the contributions of many ages and many countries ; that cach came out of the solitary workshop of one artist,