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mean enlarging our knowledge of the technical process, or the medium through which thought is expressed; a most important species of knowledge, which, if to be otherwise attained, is at least most readily learned from those who have left us the result of their experience. This technical process, which has been well called the language of the Art, includes, of course, all that pertains to Composition, which, as the general medium, also contains most of the elements of this peculiar tongue.

From the gradual progress of the various arts of civilization, it would seem that only under the action of some great social law can man arrive at the full developement of his powers. In our Art especially is this true; for the experience of one man must necessarily be limited, particularly if compared with the endless varieties of form and effect which diversify the face of Nature; and the finest of these, too, in their very nature transient, or of rare occurrence, and only known to occur to those who are prepared to seize them in their rapid transit; so that in one short life, and with but one set of senses, the greatest genius can learn but little. The Artist, therefore, must needs owe much to the living, and more to the dead, who are virtually his companions, inasmuch as through their works they still live to our sympathies. Besides, in our great predecessors we may be said to possess a multiplied life, if life be measured by the number of acts, - which, in this case, we may all appropriate to ourselves, as it were by a glance. For the dead in Art may well be likened to the hardy pioneers of our own country, who have successively cleared before us the swamps and forests that would have obstructed our progress, and opened to us lands which the efforts of no individual, however persevering, would enable him to reach.




1. “ No genuine work of Art ever was, or ever can be, produced but for its own sake; if the painter does not conceive to please himself, he will not finish to please the world." - FUSELI.

2. If an Artist love his Art for its own sake, he will delight in excellence wherever he meets it, as well in the work of another as in his own. This is the test of a true love.

3. Nor is this genuine love compatible with a craving for distinction; where the latter predominates, it is sure to betray itself before contemporary excellence, either by silence, or (as a bribe to the conscience) by a modicum of praise.

The enthusiasm of a mind so influenced is confined to itself.

4. Distinction is the consequence, never the object, of a great mind.

5. The love of gain never made a Painter; but it has marred many.

6. The most common disguise of Envy is in the praise of what is subordinate.

7. Selfishness in Art, as in other things, is sensibility kept at home.

8. The Devil's heartiest laugh is at a detracting witticism. Hence the phrase "devilish good " has sometimes a literal meaning.

9. The most intangible, and therefore the worst, kind of lie is a half truth. This is the peculiar device of a conscientious detractor.

10. Reverence is an ennobling sentiment; it is felt to be degrading only by the vulgar mind, which would escape the sense of its own littleness by elevating itself into an antagonist of what is above it. He that has no pleasure in looking up is not fit so much as to look down. Of such minds are mannerists in Art; in the world, tyrants of all sorts.

11. No right judgment can ever be formed on any subject having a moral or intellectual bearing without benevolence; for so strong is man's natural self-bias, that, without this restraining principle, he insensibly becomes a competitor in all such cases presented to his mind; and, when the comparison is thus made personal, unless the odds be immeasurably against him, his decision will rarely be impartial. In other words, no one can see any thing as it really is through the misty spectacles

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