body and soul in every product of the figurative arts. In art it is not a machine but a mind which can imitates. No draughtsman can rival the camera in bare accuracy, but every draughtsman is bound to do what the camera cannot do, by introducing a subjective quality into the reproduction. Artistic beauty is mainly a matter of selection, due to the exercise of those free mental faculties which the machine lacks. The artist observes defects in the single model; he notices in many models scattered excellences, he has before him the most perfect forms invented by his predecessors. To correct those defects, to reunite those excellences, to apply the principles of those perfected types, becomes his aim. He cannot rival nature by producing something exactly like her work, but he can create something which shall show what nature strives after. "That type of perfect in his mind Can he in nature nowhere find." The figurative arts are thus led to what is after all their highest function, the presenta tion of thought and feeling in beautiful form. Such idealism is only realism in the intensest phase of veracity. The Greek sculptors are our surest teachers. They had to create images of gods and heroes, each representing in perfection some one psychological attribute of human nature. For these spiritual essences they were bound to find fit incarnation through the means available by art. The solution of this problem forced them to idealize, while their exquisite sense for the beauty, grace, and dignity of the living model kept them realistically faithful to facts in nature. We cannot, however, always expect that perfect synthesis. which makes the works of Pheidias exemplary. Alma Tadema, L., 116. INDEX Ancient Mariner, The, " 87, 88. Beethoven, Van L., 161. Bock de, Th., 30, 125, 147. "Braes of Yarrow, The," 99. Broadway Magazine, The, 56, Browne, Sir Thomas, 87. Bryant, W. C., 203. Brymner, W., 58, 60. Burne Jones, E., 211. Cimabue, G., 7, 26. 16, 21, 22, 151, 216. Claudian, 215. Coleridge, S. T., 87, 102, 161. Constable, J., x, 19, 20, 21, 22, Corot, J. B. C., x, 16, 21, 22, 27, Claude le Lorrain, 12, 13, 15, Durer, A., 9, 26, 216. Durand, John, 24, 49. "Durward, Quentin," 92. Dutch Artists, Modern, xiv, xv, | Hamlet, 67. 27, 29, 30 to 34, 109 to 126, 151, 201. "Dutch Artists of the Nineteenth 188. "Edinburgh Review," 68. 202. Forbes, J. S., 139. Frère, E., 198. Harding, J. D., 206. 191. Ideal in Painting, The, ix, x, xiii, xiv, 16, 21, 36, 47, 49, 54 to 59, 122, 124, 126, 131, 135 to 145, "Isles of Greece, The," 91. "Job," 106. Johnston, E. F. B., 191 to 195. Fromentin, E., 36, 39, 52 to 55, Jurres, J. H., 124. 79, 151. Gray, Thomas, 83. Kever, J., 124. Khang-hi, 27. Khayyám, Omar, 145. Kubla Khan, 150. "Lady of Shalott, The," 84. "Lady of the Lake, The," 82, 93. La Farge, John, 39, 184. Gunsaulus, Dr. F. W., 88, 168. "Landscape" (Hamerton), 1, 2, Haden, Seymour F., 168. Hals, Franz, 26. 37, 41, 42, 60. "Landscape" (Symonds), 213 Hamerton, P. G., 1, 2, 33, 37, Lang, Andrew, 105, 106. |