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have so secret and inevitable a power over his heart. He casts about for the cause of his delight, and can discover no other than that he thought the picture like reality.

      In another, perhaps, a still larger number of cases, such language will be found to be that of simple ignorance—the ignorance of persons whose position in life compels them to speak of art, without having any real enjoyment of it. It is inexcusably required from people of the world, that they should see merit in Claudes^[45] and Titians; and the only merit which many persons can either see or conceive in them is, that they must be "like nature."

      In other cases, the deceptive power of the art is really felt to be a source of interest and amusement. This is the case with a large number of the collectors of Dutch pictures. They enjoy seeing what is flat made to look round, exactly as a child enjoys a trick of legerdemain: they rejoice in flies which the spectator vainly attempts to brush away,^[46] and in dew which he endeavours to dry by putting the picture in the sun. They take it for the greatest compliment to their treasures that they should be mistaken for windows; and think the parting of Abraham and Hagar adequately represented if Hagar seems to be really crying.^[47]

      It is against critics and connoisseurs of this latter stamp (of whom, in the year 1759, the juries of art were for the most part composed) that the essay of Reynolds, which we have been examining, was justly directed. But Reynolds had not sufficiently considered that neither the men of this class, nor of the two other classes above described, constitute the entire body of those who praise Art for its realization; and that the holding of this apparently shallow and vulgar opinion cannot, in all cases, be attributed to the want either of penetration, sincerity, or sense. The collectors of Gerard Dows and Hobbimas may be passed by with a smile; and the affectations of Walpole and simplicities of Vasari^[48] dismissed with contempt or with compassion. But very different men from these have held precisely the same language; and, one amongst the rest, whose authority is absolutely, and in all points, overwhelming.

      There was probably never a period in which the influence of art over the minds of men seemed to depend less on its merely imitative power, than the close of the thirteenth century. No painting or sculpture at that time reached more than a rude resemblance of reality. Its despised perspective, imperfect chiaroscuro, and unrestrained flights of fantastic imagination, separated the artist's work from nature by an interval which there was no attempt to disguise, and little to diminish. And yet, at this very period, the greatest poet of that, or perhaps of any other age, and the attached friend of its greatest painter,^[49] who must over and over again have held full and free conversation with him respecting the objects of his art, speaks in the following terms of painting, supposed to be carried to its highest perfection:

      Qual di pennel fu maestro, e di stile

      Che ritraesse l'ombre, e i tratti, chi' ivi

      Mirar farieno uno ingegno sottile?

      Morti li morti, e i vivi parean vivi:

      Non vide me' di me, chi vide il vero,

      Quant' io calcai, fin che chinato givi.

      DANTE, Purgatorio, canto xii. 1. 64.

      What master of the pencil, or the style,

      Had traced the shades and lines that might have made

      The subtlest workman wonder? Dead, the dead,

      The living seemed alive; with clearer view

      His eye beheld not, who beheld the truth,

      Than mine what I did tread on, while I went

      Low bending.

      —CARY.

      Dante has here clearly no other idea of the highest art than that it should bring back, as in a mirror or vision, the aspect of things passed or absent. The scenes of which he speaks are, on the pavement, for ever represented by angelic power, so that the souls which traverse this circle of the rock may see them, as if the years of the world had been rolled back, and they again stood beside the actors in the moment of action. Nor do I think that Dante's authority is absolutely necessary to compel us to admit that such art as this might, indeed, be the highest possible. Whatever delight we may have been in the habit of taking in pictures, if it were but truly offered to us, to remove at our will the canvas from the frame, and in lieu of it to behold, fixed for ever, the image of some of those mighty scenes which it has been our way to make mere themes for the artist's fancy; if, for instance, we could again behold the Magdalene receiving her pardon at Christ's feet, or the disciples sitting with Him at the table of Emmaus; and this not feebly nor fancifully, but as if some silver mirror that had leaned against the wall of the chamber, had been miraculously commanded to retain for ever the colours that had flashed upon it for an instant—would we not part with our picture—Titian's or Veronese's though it might be?

      Yes, the reader answers, in the instance of such scenes as these, but not if the scene represented were uninteresting. Not, indeed, if it were utterly vulgar or painful; but we are not yet certain that the art which represents what is vulgar or painful is itself of much value; and with respect to the art whose aim is beauty, even of an inferior order, it seems that Dante's idea of its perfection has still much evidence in its favour. For among persons of native good sense, and courage enough to speak their minds, we shall often find a considerable degree of doubt as to the use of art, in consequence of their habitual comparison of it with reality. "What is the use, to me, of the painted landscape?" they will ask: "I see more beautiful and perfect landscapes every day of my life in my forenoon walk." "What is the use, to me, of the painted effigy of hero or beauty? I can see a stamp of higher heroism, and light of purer beauty, on the faces round me, utterly inexpressible by the highest human skill." Now, it is evident that to persons of this temper the only valuable picture would, indeed, be mirrors, reflecting permanently the images of the things in which they took delight, and of the faces that they loved. "Nay," but the reader interrupts (if he is of the Idealist school), "I deny that more beautiful things are to be seen in nature than in art; on the contrary, everything in nature is faulty, and art represents nature as perfected." Be it so. Must, therefore, this perfected nature be imperfectly represented? Is it absolutely required of the painter, who has conceived perfection, that he should so paint it as to look only like a picture? Or is not Dante's view of the matter right even here, and would it not be well that the perfect conception of Pallas should be so given as to look like Pallas herself, rather than merely like the picture of Pallas?^[50]

      It is not easy for us to answer this question rightly, owing to the difficulty of imagining any art which should reach the perfection supposed. Our actual powers of imitation are so feeble that wherever deception is attempted, a subject of a comparatively low or confined order must be chosen. I do not enter at present into the inquiry how far the powers of imitation extend; but assuredly up to the present period they have been so limited that it is hardly possible for us to conceive a deceptive art embracing a high range of subject. But let the reader make the effort, and consider seriously what he would give at any moment to have the power of arresting the fairest scenes, those which so often rise before him only to vanish; to stay the cloud in its fading, the leaf in its trembling, and the shadows in their changing; to bid the fitful foam be fixed upon the river, and the ripples be everlasting upon the lake; and then to bear away with him no darkened or feeble sun-stain (though even that is beautiful), but a counterfeit which should seem no counterfeit-the true and perfect image of life indeed. Or rather (for the full majesty of such a power is not thus sufficiently expressed) let him consider that it would be in effect nothing else than a capacity of transporting himself at any moment into any scene—a gift as great as can be possessed by a disembodied spirit: and suppose, also, this necromancy embracing not only the present but the past, and enabling us seemingly to enter into the very bodily presence of men long since gathered to the dust; to behold them in act as they lived, but—with greater privilege than ever was granted to the companions of those transient acts of life—to see them fastened at our will in the gesture and expression of an instant, and stayed, on the eve of some great deed, in immortality of burning purpose. Conceive, so far as it is possible, such power as this, and then say whether the art which conferred it is to be spoken lightly of, or whether

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