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of its most vivid impressions. What recollection have we of the sunsets which delighted us last year? We may know that they were magnificent, or glowing, but no distinct image of color or form is retained—nothing of whose degree (for the great difficulty with the memory is to retain, not facts, but degrees of fact) we could be so certain as to say of anything now presented to us, that it is like it. If we did say so, we should be wrong; for we may be quite certain that the energy of an impression fades from the memory, and becomes more and more indistinct every day; and thus we compare a faded and indistinct image with the decision and certainty of one present to the senses.

Recognition is no proof of real and intrinsic resemblance. We recognise our books by their bindings, though the true and essential characteristics lie inside. A man is known to his dog by the smell—to his tailor by the coat—to his friend by the smile: each of these knows him, but how little, or how much, depends on the dignity of the intelligence. That which is truly and indeed characteristic of the man, is known only to God.

One portrait of a man may possess exact accuracy of feature, and no atom of expression; it may be, to use the ordi . nary terms of admiration bestowed on such portraits by those whom they please, “as like as it can stare.” Everybody, down to his cat, would know this. Another portrait may have neglected or misrepresented the features, but may have given the flash of the eye, and the peculiar radiance of the lip, seen on him only in his hours of highest mental excitement. None but his friends would know this. Another may have given none of his ordinary expressions, but one which he wore in the most excited instant of his life, when all his secret pas. sions and all his highest powers were brought into play at

once. None but those who had then seen him might recog. nise this as like. But which would be the most truthful por. trait of the man? The first gives the accidents of body, the sport of climate, and food, and time—which corruption inha. bits, and the worm waits for. The second gives the stamp of the soul on the flesh; but it is the soul seen in the emotions which it shares with many—which may not be characteristic of its essence—the results of habit, and education, and accident; a gloze, whether purposely worn, or unconsciously assumed, perhaps totally contrary to all that is rooted and real in the mind that it conceals. The third has caught the trace of all that was most hidden and most mighty, when all hypocrisy, and all habit, and all petty and passing emotion —the ice, and the bank and the foam of the immortal river— were shivered and broken, and swallowed up in the awakening of its inward strength; when the call and claim of some divine motive had brought into visible being those latent forces and feelings which the spirit's own volition could not summon, nor its consciousness comprehend; which God only knew, and God only could awaken,—the depth and the mystery of its peculiar and separating attributes.

In a man, to be short-legged or long-nosed, or anything else of accidental quality, does not distinguish him from other short-legged or long-nosed animals; but the important truths respecting a man are, first, the marked development of that distinctive organization which separates him as man from other animals, and secondly, that group of qualities which distinguish the individual from all other men, which make him Paul or Judas, Newton or Shakspeare.

That habit of the old and great painters of introducing portrait into all their highest works, I look to, not as error in them, but as the very source and root of their superiority ir all things, for they were too great and too humble not to see in every face about them that which was above them, and which no fancies of theirs could match nor take place of: wherefore we find the custom of portraiture constant with them, both portraiture of study and for purposes of analysis, as with Leonardo; and actual, professed, serviceable, hardworking portraiture of the men of their time, as with Raffaelle, and Titian, and Tintoret.

There is not any greater sign of the utter want of vitality and hopefulness in the schools of the present day than that unhappy prettiness and sameness under which they mask, or rather for which they barter, in their lentile thirst, all the birthright and power of nature, which prettiness, wrought out and spun fine in the study, out of empty heads, till it hardly betters the blocks on which dresses and hair are tried in barbers’ windows and milliners’ books, cannot but be revolting to any man who has his eyes, even in a measure, open to the divinity of the immortal seal on the common features that he meets in the highways and hedges hourly and momentarily, outreaching all efforts of conception as all power of realization, were it Raffaelle's three times over, even when the glory of the wedding garment is not there.

Public taste, I believe, as far as it is the encourager and supporter of art, has been the same in all ages,—a fitful and vacillating current of vague impression, perpetually liable to change, subject to epidemic desires, and agitated by infectious passion, the slave of fashion, and the fool of fancy, but yet always distinguishing with singular clearsightedness, between that which is best and that which is worst of the particular class of food which its morbid appetite may call for; never failing to distinguish that which is produced by intellect, from that which is not, though it may be intellect degraded by ministering to its misguided will. Public taste may thus degrade a race of men capable of the highest efforts in art into the portrait painters of ephemeral fashions, but it will yet not fail of discovering who among these portrait painters is the man of the most mind. It will separate the man who would have become Buonaroti from the man who would have become Bandinelli, though it will employ both in painting curls, and feathers, and bracelets. Hence, generally speaking, there is no comparative injustice done, no false elevation of the fool above the man of mind, provided only that the man of mind will condescend to supply the particular article which the public chooses to want. Of course a thousand modifying circumstances interfere with the action of the general rule; but, taking one case with another, we shall very constantly find the price which the picture commands in the market a pretty fair standard of the artist's rank of intellect. The press, therefore, and all who pretend to lead the public taste, have not so much to direct the multitude whom to go to, as what to ask for. Their business is not to tell us which is our best painter, but to tell us whether we are making our best painter do his best. Now none are capable of doing this, but those whose principles of judgment are based both on thorough practical knowledge of art, and on broad general views of what is true and right, without reference to what has been done at one time or another, or in one school or another. Nothing can be more perilous to the cause of art, than the constant ringing in our painters' ea's of the names of great predecessors, as their examples or masters. One of the most morbid symptoms of the general taste of the present day, is a too great fondness for unfinished works. Brilliancy and rapidity of execution are everywhere sought as the highest good, and so that a picture be cleverly handled as far as it is carried, little regard is paid to its imperfection as a whole. Hence some artists are permitted, and others compelled, to confine themselves to a manner of working altogether destructive of their powers, and to tax their energies, not to concentrate the greatest quantity of thought on the least possible space of canvas, but to produce the greatest quantity of glitter and clap-trap in the shortest possible time. To the idler and the trickster in art, no system can be more advantageous; but to the man who is really desirous of doing something worth having lived for—toaman of industry, energy, or feeling, we believe it to be the cause of the most bitter discouragement. If ever, working upon a favorite subject or a beloved idea, he is induced to tax his powers to the utmost, and to spend as much time upon his picture as he feels necessary for its perfection, he will not be able to get so high a price for the result, perhaps, of a twelvemonth's thought, as he might have obtained for half a dozen sketches with a forenoon’s work in each, and he is compelled either to fall back upon mechanism, or to starve. Now the press should especially endeavor to convince the public, that by this purchase of imperfect pictures they not only prevent all progress and development of high talent, and set tricksters and mechanics on a level with men of mind, but defraud and injure themselves. There is no doubt whatever, that, estimated merely by the quantity of pleasure it is capable of conveying, a well-finished picture is worth to its possessor half-a-dozen incomplete ones; and that a perfect drawing is, simply as a source of delight, better worth a hundred guineas than a drawing half as finished is worth thirty. On the other hand, the body of our artists should be kept in mind, that by indulging the public with rapid and unconsidered work, they are not only depriving themselves of the benefit which each picture ought to render

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