Whileacknowledgingtheimportanceofparticularfactsassamplesofhighertruths，heistotakeabroadandgeneralviewofhumanity.Heistodealwiththewholeraceandwiththeworld，notwithparticulartribesorseparatecountries.Heistobearinmindthattheworldisreallyanorganismwhereinnoonepartcanbemovedwithouttheothersbeingaffectedalso.Heistodistinguishbetweencauseandoccasion，betweentheinfluenceofgenerallawsandparticularfancies，andheistorememberthatthegreatestlessonsoftheworldarecontainedinhistoryandthatitisthehistorian’sdutytomanifestthemsoastosavenationsfromfollowingthoseunwisepolicieswhichalwaysleadtodishonourandruin，andtoteachindividualstoapprehendbytheintellectualcultureofhistorythosetruthswhichelsetheywouldhavetolearninthebitterschoolofexperience，Now，asregardshistheoryofthenecessityofthehistorian’sbeingcontemporarywiththeeventshedescribes，sofarasthehistorianisamerenarratortheremarkisundoubtedlytrue.Buttoappreciatetheharmonyandrationalpositionofthefactsofagreatepoch，todiscoveritslaws，thecauseswhichproduceditandtheeffectswhichitgenerates，thescenemustbeviewedfromacertainheightanddistancetobecompletelyapprehended.A
thoroughlycontemporaryhistoriansuchasLordClarendonorThucydidesisinrealitypartofthehistoryhecriticises;and，inthecaseofsuchcontemporaryhistoriansasFabiusandPhilistus，Polybiusincompelledtoacknowledgethattheyaremisledbypatrioticandotherconsiderations.AgainstPolybiushimselfnosuchaccusationcanbemade.Heindeedofallmenisable，asfromsomeloftytower，todiscernthewholetendencyoftheancientworld，thetriumphofRomaninstitutionsandofGreekthoughtwhichisthelastmessageoftheoldworldand，inamorespiritualsense，hasbecometheGospelofthenew.
Onethingindeedhedidnotsee，orifhesawit，hethoughtbutlittleofit—howfromtheEasttherewasspreadingovertheworld，asawavespreads，aspiritualinroadofnewreligionsfromthetimewhenthePessinuntinemotherofthegods，ashapelessmassofstone，wasbroughttotheeternalcitybyherholiestcitizen，tothedaywhentheshipCASTORANDPOLLUXstoodinatPuteoli，andSt.PaulturnedhisfacetowardsmartyrdomandvictoryatRome.
Polybiuswasabletopredict，fromhisknowledgeofthecausesofrevolutionsandthetendenciesofthevariousformsofgovernments，theuprisingofthatdemocratictoneofthoughtwhich，assoonasaseedissowninthemurderoftheGracchiandtheexileofMarius，culminatedasalldemocraticmovementsdoculminate，inthesupremeauthorityofoneman，thelordshipoftheworldundertheworld’srightfullord，CaiusJuliusCaesar.This，indeed，hesawinnouncertainway.Buttheturningofallmen’sheartstotheEast，thefirstglimmeringofthatsplendiddawnwhichbrokeoverthehillsofGalileeandfloodedtheearthlikewine，washiddenfromhiseyes.
TherearemanypointsinthedescriptionoftheidealhistorianwhichonemaycomparetothepicturewhichPlatohasgivenusoftheidealphilosopher.Theyareboth’spectatorsofalltimeandallexistence.’Nothingiscontemptibleintheireyes，forallthingshaveameaning，andtheybothwalkinaugustreasonablenessbeforeallmen，consciousoftheworkingsofGodyetfreefromallterrorofmendicantpriestorvagrantmiracle—worker.Buttheparallelendshere.Fortheonestandsalooffromtheworld—stormofsleetandhail，hiseyesfixedondistantandsunlitheights，lovingknowledgeforthesakeofknowledgeandwisdomforthejoyofwisdom，whiletheotherisaneageractorintheworldeverseekingtoapplyhisknowledgetousefulthings.Bothequallydesiretruth，buttheonebecauseofitsutility，theotherforitsbeauty.Thehistorianregardsitastherationalprincipleofalltruehistory，andnomore.Totheotheritcomesasanall—
pervadingandmysticenthusiasm，’likethedesireofstrongwine，thecravingofambition，thepassionateloveofwhatisbeautiful.’
Still，thoughwemissinthehistorianthosehigherandmorespiritualqualitieswhichthephilosopheroftheAcademealoneofallmenpossessed，wemustnotblindourselvestothemeritsofthatgreatrationalistwhoseemstohaveanticipatedtheverylatestwordsofmodernscience.Noryetishetoberegardedmerelyinthenarrowlightinwhichheisestimatedbymostmoderncritics，astheexplicitchampionofrationalismandnothingmore.
Forheisconnectedwithanotheridea，thecourseofwhichisasthecourseofthatgreatriverofhisnativeArcadiawhich，springingfromsomearidandsun—bleachedrock，gathersstrengthandbeautyasitflowstillitreachestheasphodelmeadowsofOlympiaandthelightandlaughterofIonianwaters.
Forinhimwecandiscernthefirstnotesofthatgreatcultoftheseven—hilledcitywhichmadeVirgilwritehisepicandLivyhishistory，whichfoundinDanteitshighestexponent，whichdreamedofanEmpirewheretheEmperorwouldcareforthebodiesandthePopeforthesoulsofmen，andsohaspassedintotheconceptionofGod’sspiritualempireandtheuniversalbrotherhoodofmanandwidenedintothehugeoceanofuniversalthoughtasthePeneuslosesitselfinthesea.
PolybiusisthelastscientifichistorianofGreece.Thewriterwhoseemsfittinglytocompletetheprogressofthoughtisawriterofbiographiesonly.IwillnotheretouchonPlutarch’semploymentoftheinductivemethodasshowninhisconstantuseofinscriptionandstatue，ofpublicdocumentandbuildingandthelike，becauseitinvolvesnonewmethod.ItishisattitudetowardsmiraclesofwhichIdesiretotreat.
Plutarchisphilosophicenoughtoseethatinthesenseofaviolationofthelawsofnatureamiracleisimpossible.Itisabsurd，hesays，toimaginethatthestatueofasaintcanspeak，andthataninanimateobjectnotpossessingthevocalorgansshouldbeabletoutteranarticulatesound.Upontheotherhand，heprotestsagainstscienceimaginingthat，byexplainingthenaturalcausesofthings，ithasexplainedawaytheirtranscendentalmeaning.’Whenthetearsonthecheekofsomeholystatuehavebeenanalysedintothemoisturewhichcertaintemperaturesproduceonwoodandmarble，ityetbynomeansfollowsthattheywerenotasignofgriefandmourningsettherebyGodHimself.’WhenLamponsawintheprodigyoftheone—hornedramtheomenofthesupremeruleofPericles，andwhenAnaxagorasshowedthattheabnormaldevelopmentwastherationalresultantofthepeculiarformationoftheskull，thedreamerandthemanofsciencewerebothright;itwasthebusinessofthelattertoconsiderhowtheprodigycameabout，oftheformertoshowwhyitwassoformedandwhatitsoportended.Theprogressionofthoughtisexemplifiedinallparticulars.Herodotushadaglimmeringsenseoftheimpossibilityofaviolationofnature.Thucydidesignoredthesupernatural.
Polybiusrationalisedit.Plutarchraisesittoitsmysticalheightsagain，thoughhebasesitonlaw.Inaword，Plutarchfeltthatwhilesciencebringsthesupernaturaldowntothenatural，yetultimatelyallthatisnaturalisreallysupernatural.Tohim，astomanyofourownday，religionwasthattranscendentalattitudeofthemindwhich，contemplatingaworldrestingoninviolablelaw，isyetcomfortedandseekstoworshipGodnotintheviolationbutinthefulfilmentofnature.
ItmayseemparadoxicaltoquoteinconnectionwiththepriestofChaeroneasuchapurerationalistasMr.HerbertSpencer;yetwhenwereadasthelastmessageofmodernsciencethat’whentheequationoflifehasbeenreducedtoitslowesttermsthesymbolsaresymbolsstill，’meresigns，thatis，ofthatunknownrealitywhichunderliesallmatterandallspirit，wemayfeelhowoverthewidestraitofcenturiesthoughtcallstothoughtandhowPlutarchhasahigherpositionthanisusuallyclaimedforhimintheprogressoftheGreekintellect.
And，indeed，itseemsthatnotmerelytheimportanceofPlutarchhimselfbutalsothatofthelandofhisbirthintheevolutionofGreekcivilisationhasbeenpassedoverbymoderncritics.Tous，indeed，thebarerocktowhichtheParthenonservesasacrown，andwhichliesbetweenColonusandAttica’sviolethills，willalwaysbetheholiestspotinthelandofGreece：andDelphiwillcomenext，andthenthemeadowsofEurotaswherethatnoblepeoplelivedwhorepresentedinHellenicthoughtthereactionofthelawofdutyagainstthelawofbeauty，theoppositionofconducttoculture.
Yet，asonestandsonthe[Greektextwhichcannotbereproduced]
ofCithaeronandlooksoutonthegreatdoubleplainofBoeotia，theenormousimportanceofthedivisionofHellascomestoone’smindwithgreatforce.TothenorthareOrchomenusandtheMinyantreasure—house，seatofthosemerchantprincesofPhoeniciawhobroughttoGreecetheknowledgeoflettersandtheartofworkingingold.ThebesisatourfeetwiththegloomoftheterriblelegendsofGreektragedystilllingeringaboutit，thebirthplaceofPindar，thenurseofEpaminondasandtheSacredBand.
Andfromoutoftheplainwhere’Marslovedtodance，’risestheMuses’haunt，Helicon，bywhosesilverstreamsCorinnaandHesiodsang;whilefarawayunderthewhiteaegisofthosesnow—cappedmountainsliesChaeroneaandtheLionplainwherewithvainchivalrytheGreeksstrovetocheckMacedonfirstandafterwardsRome;Chaeronea，whereintheMartinmassummerofGreekcivilisationPlutarchrosefromthedrearwasteofadyingreligionastheaftermathriseswhenthemowersthinktheyhaveleftthefieldbare.
Greekphilosophybeganandendedinscepticism：thefirstandthelastwordofGreekhistorywasFaith.
Splendidthusinitsdeath，likewintersunsets，theGreekreligionpassedawayintothehorrorofnight.FortheCimmeriandarknesswasathand，andwhentheschoolsofAthenswereclosedandthestatueofAthenabroken，theGreekspiritpassedfromthegodsandthehistoryofitsownlandtothesubtletiesofdefiningthedoctrineoftheTrinityandthemysticalattemptstobringPlatointoharmonywithChristandtoreconcileGethsemaneandtheSermonontheMountwiththeAthenianprisonandthediscussioninthewoodsofColonus.TheGreekspiritsleptforwellnighathousandyears.Whenitwokeagain，likeAntaeusithadgatheredstrengthfromtheearthwhereitlay;likeApolloithadlostnoneofitsdivinitythroughitslongservitude.
InthehistoryofRomanthoughtwenowherefindanyofthosecharacteristicsoftheGreekIlluminationwhichIhavepointedoutarethenecessaryconcomitantsoftheriseofhistoricalcriticism.
TheconservativerespectfortraditionwhichmadetheRomanpeopledelightintheritualandformulasoflaw，andisasapparentintheirpoliticsasintheirreligion，wasfataltoanyriseofthatspiritofrevoltagainstauthoritytheimportanceofwhich，asafactorinintellectualprogress，wehavealreadyseen.
ThewhitenedtablesofthePontificespreservedcarefullytherecordsoftheeclipsesandotheratmosphericalphenomena，andwhatwecalltheartofverifyingdateswasknowntothematanearlytime;buttherewasnospontaneousriseofphysicalsciencetosuggestbyitsanalogiesoflawandorderanewmethodofresearch，noranynaturalspringingupofthequestioningspiritofphilosophywithitsunificationofallphenomenaandallknowledge.
AttheverytimewhenthewholetideofEasternsuperstitionwassweepingintotheheartoftheCapitaltheSenatebanishedtheGreekphilosophersfromRome.Andofthethreesystemswhichdidatlengthtakesomerootinthecity，thoseofZenoandEpicuruswereusedmerelyastherulefortheorderingoflife，whilethedogmaticscepticismofCarneades，byitsveryprinciples，annihilatedthepossibilityofargumentandencouragedaperfectindifferencetoresearch.
NorweretheRomanseverfortunateenoughliketheGreekstohavetofacetheincubusofanydogmaticsystemoflegendsandmyths，theimmoralitiesandabsurditiesofwhichmightexcitearevolutionaryoutbreakofscepticalcriticism.FortheRomanreligionbecameasitwerecrystallisedandisolatedfromprogressatanearlyperiodofitsevolution.Theirgodsremainedmereabstractionsofcommonplacevirtuesoruninterestingpersonificationsoftheusefulthingsoflife.Theoldprimitivecreedwasindeedalwaysupheldasastateinstitutiononaccountoftheenormousfacilitiesitofferedforcheatinginpolitics，butasaspiritualsystemofbeliefitwasunanimouslyrejectedataveryearlyperiodbothbythecommonpeopleandtheeducatedclasses，forthesensiblereasonthatitwassoextremelydull.TheformertookrefugeinthemysticsensualitiesoftheworshipofIsis，thelatterintheStoicalrulesoflife.TheRomansclassifiedtheirgodscarefullyintheirorderofprecedence，analysedtheirgenealogiesinthelaboriousspiritofmodernheraldry，fencedthemroundwitharitualasintricateastheirlaw，butneverquitecaredenoughaboutthemtobelieveinthem.SoitwasofnoaccountwiththemwhenthephilosophersannouncedthatMinervawasmerelymemory.Shehadneverbeenmuchelse.NordidtheyprotestwhenLucretiusdaredtosayofCeresandofLiberthattheywereonlythecornofthefieldandthefruitofthevine.FortheyhadnevermournedforthedaughterofDemeterintheasphodelmeadowsofSicily，nortraversedthegladesofCithaeronwithfawn—skinandwithspear.
ThisbriefsketchoftheconditionofRomanthoughtwillservetoprepareusforthealmosttotalwantofscientifichistoricalcriticismwhichweshalldiscernintheirliterature，andhas，besides，affordedfreshcorroborationoftheconditionsessentialtotheriseofthisspirit，andofthemodesofthoughtwhichitreflectsandinwhichitisalwaystobefound.Romanhistoricalcompositionhaditsorigininthepontificalcollegeofecclesiasticallawyers，andpreservedtoitsclosetheuncriticalspiritwhichcharacteriseditsfountain—head.Itpossessedfromtheoutsetamostvoluminouscollectionofthematerialsofhistory，which，however，producedmerelyantiquarians，nothistorians.Itissohardtousefacts，soeasytoaccumulatethem.
Weariedofthedullmonotonyofthepontificalannals，whichdweltonlittleelsebuttheriseandfallinprovisionsandtheeclipsesofthesun，Catowroteoutahistorywithhisownhandfortheinstructionofhischild，towhichhegavethenameofOrigines，andbeforehistimesomearistocraticfamilieshadwrittenhistoriesinGreekmuchinthesamespiritinwhichtheGermansoftheeighteenthcenturyusedFrenchastheliterarylanguage.ButthefirstregularRomanhistorianisSallust.BetweentheextravaganteulogiespassedonthisauthorbytheFrench（suchasDeClosset），andDr.Mommsen’sviewofhimasmerelyapoliticalpamphleteer，itisperhapsdifficulttoreachtheVIAMEDIAofunbiassedappreciation.Hehas，atanyrate，thecreditofbeingapurelyrationalistichistorian，perhapstheonlyoneinRomanliterature.Cicerohadagoodmanyqualificationsforascientifichistorian，and（asheusuallydid）thoughtveryhighlyofhisownpowers.Onpassagesofancientlegend，however，heisratherunsatisfactory，forwhileheistoosensibletobelievethemheistoopatriotictorejectthem.AndthisisreallytheattitudeofLivy，whoclaimsforearlyRomanlegendacertainuncriticalhomagefromtherestofthesubjectworld.Hisviewinhishistoryisthatitisnotworthwhiletoexaminethetruthofthesestories.
InhishandsthehistoryofRomeunrollsbeforeoureyeslikesomegorgeoustapestry，wherevictorysucceedsvictory，wheretriumphtreadsontheheelsoftriumph，andthelineofheroesseemsnevertoend.ItisnottillwepassbehindthecanvasandseetheslightmeansbywhichtheeffectisproducedthatweapprehendthefactthatlikemostpicturesquewritersLivyisanindifferentcritic.AsregardshisattitudetowardsthecredibilityofearlyRomanhistoryheisquiteasconsciousasweareofitsmythicalandunsoundnature.Hewillnot，forinstance，decidewhethertheHoratiiwereAlbansorRomans;whowasthefirstdictator;howmanytribunestherewere，andthelike.Hismethod，asarule，ismerelytomentionalltheaccountsandsometimestodecideinfavourofthemostprobable，butusuallynottodecideatall.NocanonsofhistoricalcriticismwilleverdiscoverwhethertheRomanwomeninterviewedthemotherofCoriolanusoftheirownaccordoratthesuggestionofthesenate;whetherRemuswaskilledforjumpingoverhisbrother’swallorbecausetheyquarrelledaboutbirds;whethertheambassadorsfoundCincinnatusploughingoronlymendingahedge.Livysuspendshisjudgmentovertheseimportantfactsandhistorywhenquestionedontheirtruthisdumb.Ifhedoesselectbetweentwohistorianshechoosestheonewhoisnearertothefactshedescribes.Butheisnocritic，onlyaconscientiouswriter.Itismerevainwastetodwellonhiscriticalpowers，fortheydonotexist.
InthecaseofTacitusimaginationhastakentheplaceofhistory.
Thepastlivesagaininhispages，butthroughnolaboriouscriticism;ratherthroughadramaticandpsychologicalfacultywhichhespeciallypossessed.
Inthephilosophyofhistoryhehasnobelief.HecannevermakeuphismindwhattobelieveasregardsGod’sgovernmentoftheworld.ThereisnomethodinhimandnoneelsewhereinRomanliterature.
Nationsmaynothavemissionsbuttheycertainlyhavefunctions.
AndthefunctionofancientItalywasnotmerelytogiveuswhatisstaticalinourinstitutionsandrationalinourlaw，buttoblendintooneelementalcreedthespiritualaspirationsofAryanandofSemite.Italywasnotapioneerinintellectualprogress，noramotivepowerintheevolutionofthought.TheowlofthegoddessofWisdomtraversedoverthewholelandandfoundnowherearesting—place.Thedove，whichisthebirdofChrist，flewstraighttothecityofRomeandthenewreignbegan.ItwasthefashionofearlyItalianpainterstorepresentinmediaevalcostumethesoldierswhowatchedoverthetombofChrist，andthis，whichwastheresultofthefrankanachronismofalltrueart，mayservetousasanallegory.ForitwasinvainthattheMiddleAgesstrovetoguardtheburiedspiritofprogress.WhenthedawnoftheGreekspiritarose，thesepulchrewasempty，thegrave—clotheslaidaside.Humanityhadrisenfromthedead.
ThestudyofGreek，ithasbeenwellsaid，impliesthebirthofcriticism，comparisonandresearch.AttheopeningofthateducationofmodernbyancientthoughtwhichwecalltheRenaissance，itwasthewordsofAristotlewhichsentColumbussailingtotheNewWorld，whileafragmentofPythagoreanastronomysetCopernicusthinkingonthattrainofreasoningwhichhasrevolutionisedthewholepositionofourplanetintheuniverse.
ThenitwasseenthattheonlymeaningofprogressisareturntoGreekmodesofthought.ThemonkishhymnswhichobscuredthepagesofGreekmanuscriptswereblottedout，thesplendoursofanewmethodwereunfoldedtotheworld，andoutofthemelancholyseaofmediaevalismrosethefreespiritofmaninallthatsplendourofgladadolescence，whenthebodilypowersseemquickenedbyanewvitality，whentheeyeseesmoreclearlythanitswontandthemindapprehendswhatwasbeforetimehiddenfromit.Toheraldtheopeningofthesixteenthcentury，fromthelittleVenetianprintingpresscameforthallthegreatauthorsofantiquity，eachbearingonthetitle—pagethewords[Greektextwhichcannotbereproduced];wordswhichmayservetoreminduswithwhatwondrouspresciencePolybiussawtheworld’sfatewhenheforetoldthematerialsovereigntyofRomaninstitutionsandexemplifiedinhimselftheintellectualempireofGreece.
Thecourseofthestudyofthespiritofhistoricalcriticismhasnotbeenaprofitlessinvestigationintomodesandformsofthoughtnowantiquatedandofnoaccount.Theonlyspiritwhichisentirelyremovedfromusisthemediaeval;theGreekspiritisessentiallymodern.Theintroductionofthecomparativemethodofresearchwhichhasforcedhistorytodiscloseitssecretsbelongsinameasuretous.Ours，too，isamorescientificknowledgeofphilologyandthemethodofsurvival.Nordidtheancientsknowanythingofthedoctrineofaveragesorofcrucialinstances，bothofwhichmethodshaveprovedofsuchimportanceinmoderncriticism，theoneaddingamostimportantproofofthestaticalelementsofhistory，andexemplifyingtheinfluencesofallphysicalsurroundingsonthelifeofman;theother，asinthesingleinstanceoftheMoulinQuignonskull，servingtocreateawholenewscienceofprehistoricarchaeologyandtobringusbacktoatimewhenmanwascoevalwiththestoneage，themammothandthewoollyrhinoceros.But，exceptthese，wehaveaddednonewcanonormethodtothescienceofhistoricalcriticism.AcrossthedrearwasteofathousandyearstheGreekandthemodernspiritjoinhands.
InthetorchracewhichtheGreekboysranfromtheCerameicianfieldofdeathtothehomeofthegoddessofWisdom，notmerelyhewhofirstreachedthegoalbuthealsowhofirststartedwiththetorchaflamereceivedaprize.IntheLampadephoriaofcivilisationandfreethoughtletusnotforgettorenderduemeedofhonourtothosewhofirstlitthatsacredflame，theincreasingsplendourofwhichlightsourfootstepstothefar—offdivineeventoftheattainmentofperfecttruth.
THEENGLISHRENAISSANCEOFART
AMONGthemanydebtswhichweowetothesupremeaestheticfacultyofGoetheisthathewasthefirsttoteachustodefinebeautyintermsthemostconcretepossible，torealiseit，Imean，alwaysinitsspecialmanifestations.So，inthelecturewhichIhavethehonourtodeliverbeforeyou，Iwillnottrytogiveyouanyabstractdefinitionofbeauty—anysuchuniversalformulaforitaswassoughtforbythephilosophyoftheeighteenthcentury—
stilllesstocommunicatetoyouthatwhichinitsessenceisincommunicable，thevirtuebywhichaparticularpictureorpoemaffectsuswithauniqueandspecialjoy;butrathertopointouttoyouthegeneralideaswhichcharacterisethegreatEnglishRenaissanceofArtinthiscentury，todiscovertheirsource，asfarasthatispossible，andtoestimatetheirfutureasfarasthatispossible.
IcallitourEnglishRenaissancebecauseitisindeedasortofnewbirthofthespiritofman，likethegreatItalianRenaissanceofthefifteenthcentury，initsdesireforamoregraciousandcomelywayoflife，itspassionforphysicalbeauty，itsexclusiveattentiontoform，itsseekingfornewsubjectsforpoetry，newformsofart，newintellectualandimaginativeenjoyments：andI
callitourromanticmovementbecauseitisourmostrecentexpressionofbeauty.
IthasbeendescribedasamererevivalofGreekmodesofthought，andagainasamererevivalofmediaevalfeeling.RatherIwouldsaythattotheseformsofthehumanspiritithasaddedwhateverofartisticvaluetheintricacyandcomplexityandexperienceofmodernlifecangive：takingfromtheoneitsclearnessofvisionanditssustainedcalm，fromtheotheritsvarietyofexpressionandthemysteryofitsvision.Forwhat，asGoethesaid，isthestudyoftheancientsbutareturntotherealworld（forthatiswhattheydid）;andwhat，saidMazzini，ismediaevalismbutindividuality？
ItisreallyfromtheunionofHellenism，initsbreadth，itssanityofpurpose，itscalmpossessionofbeauty，withtheadventive，theintensifiedindividualism，thepassionatecolouroftheromanticspirit，thatspringstheartofthenineteenthcenturyinEngland，asfromthemarriageofFaustandHelenofTroysprangthebeautifulboyEuphorion.
Suchexpressionsas’classical’and’romantic’are，itistrue，oftenapttobecomethemerecatchwordsofschools.Wemustalwaysrememberthatarthasonlyonesentencetoutter：thereisforheronlyonehighlaw，thelawofformorharmony—yetbetweentheclassicalandromanticspiritwemaysaythatthereliesthisdifferenceatleast，thattheonedealswiththetypeandtheotherwiththeexception.Intheworkproducedunderthemodernromanticspirititisnolongerthepermanent，theessentialtruthsoflifethataretreatedof;itisthemomentarysituationoftheone，themomentaryaspectoftheotherthatartseekstorender.Insculpture，whichisthetypeofonespirit，thesubjectpredominatesoverthesituation;inpainting，whichisthetypeoftheother，thesituationpredominatesoverthesubject.
Therearetwospirits，then：theHellenicspiritandthespiritofromancemaybetakenasformingtheessentialelementsofourconsciousintellectualtradition，ofourpermanentstandardoftaste.Asregardstheirorigin，inartasinpoliticsthereisbutoneoriginforallrevolutions，adesireonthepartofmanforanoblerformoflife，forafreermethodandopportunityofexpression.Yet，IthinkthatinestimatingthesensuousandintellectualspiritwhichpresidesoverourEnglishRenaissance，anyattempttoisolateitinanywayfromintheprogressandmovementandsociallifeoftheagethathasproduceditwouldbetorobitofitstruevitality，possiblytomistakeitstruemeaning.Andindisengagingfromthepursuitsandpassionsofthiscrowdedmodernworldthosepassionsandpursuitswhichhavetodowithartandtheloveofart，wemusttakeintoaccountmanygreateventsofhistorywhichseemtobethemostopposedtoanysuchartisticfeeling.
Alienthenfromanywild，politicalpassion，orfromtheharshvoiceofarudepeopleinrevolt，asourEnglishRenaissancemustseem，initspassionatecultofpurebeauty，itsflawlessdevotiontoform，itsexclusiveandsensitivenature，itistotheFrenchRevolutionthatwemustlookforthemostprimaryfactorofitsproduction，thefirstconditionofitsbirth：thatgreatRevolutionofwhichweareallthechildrenthoughthevoicesofsomeofusbeoftenloudagainstit;thatRevolutiontowhichatatimewhenevensuchspiritsasColeridgeandWordsworthlostheartinEngland，noblemessagesofloveblownacrossseascamefromyouryoungRepublic.
Itistruethatourmodernsenseofthecontinuityofhistoryhasshownusthatneitherinpoliticsnorinnaturearethererevolutionseverbutevolutionsonly，andthatthepreludetothatwildstormwhichsweptoverFrancein1789andmadeeverykinginEuropetrembleforhisthrone，wasfirstsoundedinliteratureyearsbeforetheBastillefellandthePalacewastaken.ThewayforthoseredscenesbySeineandLoirewaspavedbythatcriticalspiritofGermanyandEnglandwhichaccustomedmentobringallthingstothetestofreasonorutilityorboth，whilethediscontentofthepeopleinthestreetsofPariswastheechothatfollowedthelifeofEmileandofWerther.ForRousseau，bysilentlakeandmountain，hadcalledhumanitybacktothegoldenagethatstillliesbeforeusandpreachedareturntonature，inpassionateeloquencewhosemusicstilllingersaboutourkeennorthernair.
AndGoetheandScotthadbroughtromancebackagainfromtheprisonshehadlaininforsomanycenturies—andwhatisromancebuthumanity？
YetinthewomboftheRevolutionitself，andinthestormandterrorofthatwildtime，tendencieswerehiddenawaythattheartisticRenaissancebenttoherownservicewhenthetimecame—ascientifictendencyfirst，whichhasborneinourowndayabroodofsomewhatnoisyTitans，yetinthesphereofpoetryhasnotbeenunproductiveofgood.Idonotmeanmerelyinitsaddingtoenthusiasmthatintellectualbasiswhichinitsstrength，orthatmoreobviousinfluenceaboutwhichWordsworthwasthinkingwhenhesaidverynoblythatpoetrywasmerelytheimpassionedexpressioninthefaceofscience，andthatwhensciencewouldputonaformoffleshandbloodthepoetwouldlendhisdivinespirittoaidthetransfiguration.NordoIdwellmuchonthegreatcosmicalemotionanddeeppantheismofsciencetowhichShelleyhasgivenitsfirstandSwinburneitslatestgloryofsong，butratheronitsinfluenceontheartisticspiritinpreservingthatcloseobservationandthesenseoflimitationaswellasofclearnessofvisionwhicharethecharacteristicsoftherealartist.
Thegreatandgoldenruleofartaswellasoflife，wroteWilliamBlake，isthatthemoredistinct，sharpanddefinedtheboundaryline，themoreperfectistheworkofart;andthelesskeenandsharpthegreateristheevidenceofweakimitation，plagiarismandbungling.’Greatinventorsinallagesknewthis—MichaelAngeloandAlbertDurerareknownbythisandbythisalone’;andanothertimehewrote，withallthesimpledirectnessofnineteenth—centuryprose，’togeneraliseistobeanidiot.’
Andthisloveofdefiniteconception，thisclearnessofvision，thisartisticsenseoflimit，isthecharacteristicofallgreatworkandpoetry;ofthevisionofHomerasofthevisionofDante，ofKeatsandWilliamMorrisasofChaucerandTheocritus.Itliesatthebaseofallnoble，realisticandromanticworkasopposedtothecolourlessandemptyabstractionsofourowneighteenth—centurypoetsandoftheclassicaldramatistsofFrance，orofthevaguespiritualitiesoftheGermansentimentalschool：opposed，too，tothatspiritoftranscendentalismwhichalsowasrootandfloweritselfofthegreatRevolution，underlyingtheimpassionedcontemplationofWordsworthandgivingwingsandfiretotheeagle—
likeflightofShelley，andwhichinthesphereofphilosophy，thoughdisplacedbythematerialismandpositivenessofourday，bequeathedtwogreatschoolsofthought，theschoolofNewmantoOxford，theschoolofEmersontoAmerica.Yetisthisspiritoftranscendentalismalientothespiritofart.Fortheartistcanacceptnosphereoflifeinexchangeforlifeitself.Forhimthereisnoescapefromthebondageoftheearth：thereisnoteventhedesireofescape.
Heisindeedtheonlytruerealist：symbolism，whichistheessenceofthetranscendentalspirit，isalientohim.ThemetaphysicalmindofAsiawillcreateforitselfthemonstrous，many—breastedidolofEphesus，buttotheGreek，pureartist，thatworkismostinstinctwithspirituallifewhichconformsmostclearlytotheperfectfactsofphysicallife.
’Thestormofrevolution，’asAndreCheniersaid，’blowsoutthetorchofpoetry.’Itisnotforsomelittletimethattherealinfluenceofsuchawildcataclysmofthingsisfelt：atfirstthedesireforequalityseemstohaveproducedpersonalitiesofmoregiantandTitanstaturethantheworldhadeverknownbefore.MenheardthelyreofByronandthelegionsofNapoleon;itwasaperiodofmeasurelesspassionsandofmeasurelessdespair;
ambition，discontent，werethechordsoflifeandart;theagewasanageofrevolt：aphasethroughwhichthehumanspiritmustpass，butoneinwhichitcannotrest.Fortheaimofcultureisnotrebellionbutpeace，thevalleyperilouswhereignorantarmiesclashbynightbeingnodwelling—placemeetforhertowhomthegodshaveassignedthefreshuplandsandsunnyheightsandclear，untroubledair.
Andsoonthatdesireforperfection，whichlayatthebaseoftheRevolution，foundinayoungEnglishpoetitsmostcompleteandflawlessrealisation.
PhidiasandtheachievementsofGreekartareforeshadowedinHomer：DanteprefiguresforusthepassionandcolourandintensityofItalianpainting：themodernloveoflandscapedatesfromRousseau，anditisinKeatsthatonediscernsthebeginningoftheartisticrenaissanceofEngland.
ByronwasarebelandShelleyadreamer;butinthecalmnessandclearnessofhisvision，hisperfectself—control，hisunerringsenseofbeautyandhisrecognitionofaseparaterealmfortheimagination，Keatswasthepureandsereneartist，theforerunnerofthepre—Raphaeliteschool，andsoofthegreatromanticmovementofwhichIamtospeak.
Blakehadindeed，beforehim，claimedforartalofty，spiritualmission，andhadstriventoraisedesigntotheideallevelofpoetryandmusic，buttheremotenessofhisvisionbothinpaintingandpoetryandtheincompletenessofhistechnicalpowershadbeenadversetoanyrealinfluence.ItisinKeatsthattheartisticspiritofthiscenturyfirstfounditsabsoluteincarnation.
Andthesepre—Raphaelites，whatwerethey？Ifyouasknine—tenthsoftheBritishpublicwhatisthemeaningofthewordaesthetics，theywilltellyouitistheFrenchforaffectationortheGermanforadado;andifyouinquireaboutthepre—Raphaelitesyouwillhearsomethingaboutaneccentriclotofyoungmentowhomasortofdivinecrookednessandholyawkwardnessindrawingwerethechiefobjectsofart.ToknownothingabouttheirgreatmenisoneofthenecessaryelementsofEnglisheducation.
Asregardsthepre—Raphaelitesthestoryissimpleenough.Intheyear1847anumberofyoungmeninLondon，poetsandpainters，passionateadmirersofKeatsallofthem，formedthehabitofmeetingtogetherfordiscussionsonart，theresultofsuchdiscussionsbeingthattheEnglishPhilistinepublicwasrousedsuddenlyfromitsordinaryapathybyhearingthattherewasinitsmidstabodyofyoungmenwhohaddeterminedtorevolutioniseEnglishpaintingandpoetry.Theycalledthemselvesthepre—
RaphaeliteBrotherhood.
InEngland，thenasnow，itwasenoughforamantotryandproduceanyseriousbeautifulworktoloseallhisrightsasacitizen;andbesidesthis，thepre—RaphaeliteBrotherhood—amongwhomthenamesofDanteRossetti，HolmanHuntandMillaiswillbefamiliartoyou—hadontheirsidethreethingsthattheEnglishpublicneverforgives：youth，powerandenthusiasm.
Satire，alwaysassterileasitinshamefulandasimpotentasitisinsolent，paidthemthatusualhomagewhichmediocritypaystogenius—doing，hereasalways，infiniteharmtothepublic，blindingthemtowhatisbeautiful，teachingthemthatirreverencewhichisthesourceofallvilenessandnarrownessoflife，butharmingtheartistnotatall，ratherconfirminghimintheperfectrightnessofhisworkandambition.Fortodisagreewiththree—
fourthsoftheBritishpubliconallpointsisoneofthefirstelementsofsanity，oneofthedeepestconsolationsinallmomentsofspiritualdoubt.
AsregardstheideastheseyoungmenbroughttotheregenerationofEnglishart，wemayseeatthebaseoftheirartisticcreationsadesireforadeeperspiritualvaluetobegiventoartaswellasamoredecorativevalue.
Pre—Raphaelitestheycalledthemselves;notthattheyimitatedtheearlyItalianmastersatall，butthatintheirwork，asopposedtothefacileabstractionsofRaphael，theyfoundastrongerrealismofimagination，amorecarefulrealismoftechnique，avisionatoncemoreferventandmorevivid，anindividualitymoreintimateandmoreintense.
Foritisnotenoughthataworkofartshouldconformtotheaestheticdemandsofitsage：theremustbealsoaboutit，ifitistoaffectuswithanypermanentdelight，theimpressofadistinctindividuality，anindividualityremotefromthatofordinarymen，andcomingneartousonlybyvirtueofacertainnewnessandwonderinthework，andthroughchannelswhoseverystrangenessmakesusmorereadytogivethemwelcome.
LAPERSONNALITE，saidoneofthegreatestofmodemFrenchcritics，VOILECEQUINOUSSAUVERA.
ButaboveallthingswasitareturntoNature—thatformulawhichseemstosuitsomanyandsuchdiversemovements：theywoulddrawandpaintnothingbutwhattheysaw，theywouldtryandimaginethingsastheyreallyhappened.LatertherecametotheoldhousebyBlackfriarsBridge，wherethisyoungbrotherhoodusedtomeetandwork，twoyoungmenfromOxford，EdwardBurne—JonesandWilliamMorris—thelattersubstitutingforthesimplerrealismoftheearlydaysamoreexquisitespiritofchoice，amorefaultlessdevotiontobeauty，amoreintenseseekingforperfection：amasterofallexquisitedesignandofallspiritualvision.ItisoftheschoolofFlorenceratherthanofthatofVenicethatheiskinsman，feelingthatthecloseimitationofNatureisadisturbingelementinimaginativeart.Thevisibleaspectofmodernlifedisturbshimnot;ratherisitforhimtorendereternalallthatisbeautifulinGreek，Italian，andCelticlegend.ToMorrisweowepoetrywhoseperfectprecisionandclearnessofwordandvisionhasnotbeenexcelledintheliteratureofourcountry，andbytherevivalofthedecorativeartshehasgiventoourindividualisedromanticmovementthesocialideaandthesocialfactoralso.
Buttherevolutionaccomplishedbythiscliqueofyoungmen，withRuskin’sfaultlessandferventeloquencetohelpthem，wasnotoneofideasmerelybutofexecution，notoneofconceptionsbutofcreations.
Forthegreaterasinthehistoryofthedevelopmentofalltheartshavebeenerasnotofincreasedfeelingorenthusiasminfeelingforart，butofnewtechnicalimprovementsprimarilyandspecially.ThediscoveryofmarblequarriesinthepurpleravinesofPentelicusandonthelittlelow—lyinghillsoftheislandofParosgavetotheGreekstheopportunityforthatintensifiedvitalityofaction，thatmoresensuousandsimplehumanism，towhichtheEgyptiansculptorworkinglaboriouslyinthehardporphyryandrose—colouredgraniteofthedesertcouldnotattain.
ThesplendouroftheVenetianschoolbeganwiththeintroductionofthenewoilmediumforpainting.Theprogressinmodernmusichasbeenduetotheinventionofnewinstrumentsentirely，andinnowaytoanincreasedconsciousnessonthepartofthemusicianofanywidersocialaim.ThecriticmaytryandtracethedeferredresolutionsofBeethoventosomesenseoftheincompletenessofthemodernintellectualspirit，buttheartistwouldhaveanswered，asoneofthemdidafterwards，’Letthempickoutthefifthsandleaveusatpeace.’
Andsoitisinpoetryalso：allthisloveofcuriousFrenchmetresliketheBallade，theVillanelle，theRondel;allthisincreasedvaluelaidonelaboratealliterations，andoncuriouswordsandrefrains，suchasyouwillfindinDanteRossettiandSwinburne，ismerelytheattempttoperfectfluteandviolandtrumpetthroughwhichthespiritoftheageandthelipsofthepoetmayblowthemusicoftheirmanymessages.
Andsoithasbeenwiththisromanticmovementofours：itisareactionagainsttheemptyconventionalworkmanship，thelaxexecutionofpreviouspoetryandpainting，showingitselfintheworkofsuchmenasRossettiandBurne—Jonesbyafargreatersplendourofcolour，afarmoreintricatewonderofdesignthanEnglishimaginativearthasshownbefore.InRossetti’spoetryandthepoetryofMorris，SwinburneandTennysonaperfectprecisionandchoiceoflanguage，astyleflawlessandfearless，aseekingforallsweetandpreciousmelodiesandasustainingconsciousnessofthemusicalvalueofeachwordareopposedtothatvaluewhichismerelyintellectual.InthisrespecttheyareonewiththeromanticmovementofFranceofwhichnottheleastcharacteristicnotewasstruckbyTheophileGautier’sadvicetotheyoungpoettoreadhisdictionaryeveryday，asbeingtheonlybookworthapoet’sreading.
While，then，thematerialofworkmanshipisbeingthuselaboratedanddiscoveredtohaveinitselfincommunicableandeternalqualitiesofitsown，qualitiesentirelysatisfyingtothepoeticsenseandnotneedingfortheiraestheticeffectanyloftyintellectualvision，anydeepcriticismoflifeorevenanypassionatehumanemotionatall，thespiritandthemethodofthepoet’sworking—whatpeoplecallhisinspiration—havenotescapedthecontrollinginfluenceoftheartisticspirit.Notthattheimaginationhaslostitswings，butwehaveaccustomedourselvestocounttheirinnumerablepulsations，toestimatetheirlimitlessstrength，togoverntheirungovernablefreedom.
TotheGreeksthisproblemoftheconditionsofpoeticproduction，andtheplacesoccupiedbyeitherspontaneityorself—consciousnessinanyartisticwork，hadapeculiarfascination.WefinditinthemysticismofPlatoandintherationalismofAristotle.WefinditlaterintheItalianRenaissanceagitatingthemindsofsuchmenasLeonardodaVinci.Schillertriedtoadjustthebalancebetweenformandfeeling，andGoethetoestimatethepositionofself—consciousnessinart.Wordsworth’sdefinitionofpoetryas’emotionrememberedintranquillity’maybetakenasananalysisofoneofthestagesthroughwhichallimaginativeworkhastopass;andinKeats’slongingtobe’abletocomposewithoutthisfever’（Iquotefromoneofhisletters），hisdesiretosubstituteforpoeticardour’amorethoughtfulandquietpower，’
wemaydiscernthemostimportantmomentintheevolutionofthatartisticlife.Thequestionmadeanearlyandstrangeappearanceinyourliteraturetoo;andIneednotremindyouhowdeeplytheyoungpoetsoftheFrenchromanticmovementwereexcitedandstirredbyEdgarAllanPoe’sanalysisoftheworkingsofhisownimaginationinthecreatingofthatsupremeimaginativeworkwhichweknowbythenameofTHERAVEN.
Inthelastcentury，whentheintellectualanddidacticelementhadintrudedtosuchanextentintothekingdomwhichbelongstopoetry，itwasagainsttheclaimsoftheunderstandingthatanartistlikeGoethehadtoprotest.’Themoreincomprehensibletotheunderstandingapoemisthebetterforit，’hesaidonce，assertingthecompletesupremacyoftheimaginationinpoetryasofreasoninprose.Butinthiscenturyitisratheragainsttheclaimsoftheemotionalfaculties，theclaimsofmeresentimentandfeeling，thattheartistmustreact.Thesimpleutteranceofjoyisnotpoetryanymorethanamerepersonalcryofpain，andtherealexperiencesoftheartistarealwaysthosewhichdonotfindtheirdirectexpressionbutaregatheredupandabsorbedintosomeartisticformwhichseems，fromsuchrealexperiences，tobethefarthestremovedandthemostalien.
’Theheartcontainspassionbuttheimaginationalonecontainspoetry，’saysCharlesBaudelaire.ThistoowasthelessonthatTheophileGautier，mostsubtleofallmoderncritics，mostfascinatingofallmodernpoets，wasnevertiredofteaching—
’Everybodyisaffectedbyasunriseorasunset.’Theabsolutedistinctionoftheartistisnothiscapacitytofeelnaturesomuchashispowerofrenderingit.TheentiresubordinationofallintellectualandemotionalfacultiestothevitalandinformingpoeticprincipleisthesurestsignofthestrengthofourRenaissance.
Wehaveseentheartisticspiritworking，firstinthedelightfulandtechnicalsphereoflanguage，thesphereofexpressionasopposedtosubject，thencontrollingtheimaginationofthepoetindealingwithhissubject.AndnowIwouldpointouttoyouitsoperationinthechoiceofsubject.Therecognitionofaseparaterealmfortheartist，aconsciousnessoftheabsolutedifferencebetweentheworldofartandtheworldofrealfact，betweenclassicgraceandabsolutereality，formsnotmerelytheessentialelementofanyaestheticcharmbutisthecharacteristicofallgreatimaginativeworkandofallgreaterasofartisticcreation—
oftheageofPhidiasasoftheageofMichaelAngelo，oftheageofSophoclesasoftheageofGoethe.
Artneverharmsitselfbykeepingalooffromthesocialproblemsoftheday：rather，bysodoing，itmorecompletelyrealisesforusthatwhichwedesire.Fortomostofusthereallifeisthelifewedonotlead，andthus，remainingmoretruetotheessenceofitsownperfection，morejealousofitsownunattainablebeauty，islesslikelytoforgetforminfeelingortoacceptthepassionofcreationasanysubstituteforthebeautyofthecreatedthing.
Theartistisindeedthechildofhisownage，butthepresentwillnotbetohimawhitmorerealthanthepast;for，likethephilosopherofthePlatonicvision，thepoetisthespectatorofalltimeandofallexistence.Forhimnoformisobsolete，nosubjectoutofdate;rather，whateveroflifeandpassiontheworldhasknown，indesertofJudaeaorinArcadianvalley，bytheriversofTroyortheriversofDamascus，inthecrowdedandhideousstreetsofamoderncityorbythepleasantwaysofCamelot—allliesbeforehimlikeanopenscroll，allisstillinstinctwithbeautifullife.Hewilltakeofitwhatissalutaryforhisownspirit，nomore;choosingsomefactsandrejectingotherswiththecalmartisticcontrolofonewhoisinpossessionofthesecretofbeauty.
Thereisindeedapoeticalattitudetobeadoptedtowardsallthings，butallthingsarenotfitsubjectsforpoetry.IntothesecureandsacredhouseofBeautythetrueartistwilladmitnothingthatisharshordisturbing，nothingthatgivespain，nothingthatisdebatable，nothingaboutwhichmenargue.Hecansteephimself，ifhewishes，inthediscussionofallthesocialproblemsofhisday，poor—lawsandlocaltaxation，freetradeandbimetalliccurrency，andthelike;butwhenhewritesonthesesubjectsitwillbe，asMiltonnoblyexpressedit，withhislefthand，inproseandnotinverse，inapamphletandnotinalyric.
ThisexquisitespiritofartisticchoicewasnotinByron：
Wordsworthhaditnot.Intheworkofboththesementhereismuchthatwehavetoreject，muchthatdoesnotgiveusthatsenseofcalmandperfectreposewhichshouldbetheeffectofallfine，imaginativework.ButinKeatsitseemedtohavebeenincarnate，andinhislovelyODEONAGRECIANURNitfounditsmostsecureandfaultlessexpression;inthepageantoftheEARTHLYPARADISEandtheknightsandladiesofBurne—Jonesitistheonedominantnote.
ItistonoavailthattheMuseofPoetrybecalled，evenbysuchaclarionnoteasWhitman’s，tomigratefromGreeceandIoniaandtoplacardREMOVEDandTOLETontherocksofthesnowyParnassus.
Calliope’scallisnotyetclosed，noraretheepicsofAsiaended;
theSphinxisnotyetsilent，northefountainofCastalydry.Forartisverylifeitselfandknowsnothingofdeath;sheisabsolutetruthandtakesnocareoffact;shesees（asIrememberMr.
Swinburneinsistingonatdinner）thatAchillesisevennowmoreactualandrealthanWellington，notmerelymorenobleandinterestingasatypeandfigurebutmorepositiveandreal.
Literaturemustrestalwaysonaprinciple，andtemporalconsiderationsarenoprincipleatall.Fortothepoetalltimesandplacesareone;thestuffhedealswithiseternalandeternallythesame：nothemeisinept，nopastorpresentpreferable.ThesteamwhistlewillnotaffrighthimnortheflutesofArcadiawearyhim：forhimthereisbutonetime，theartisticmoment;butonelaw，thelawofform;butoneland，thelandofBeauty—alandremovedindeedfromtherealworldandyetmoresensuousbecausemoreenduring;calm，yetwiththatcalmwhichdwellsinthefacesoftheGreekstatues，thecalmwhichcomesnotfromtherejectionbutfromtheabsorptionofpassion，thecalmwhichdespairandsorrowcannotdisturbbutintensifyonly.Andsoitcomesthathewhoseemstostandmostremotefromhisageishewhomirrorsitbest，becausehehasstrippedlifeofwhatisaccidentalandtransitory，strippeditofthat’mistoffamiliaritywhichmakeslifeobscuretous.’
Thosestrange，wild—eyedsibylsfixedeternallyinthewhirlwindofecstasy，thosemighty—limbedandTitanprophets，labouringwiththesecretoftheearthandtheburdenofmystery，thatguardandglorifythechapelofPopeSixtusatRome—dotheynottellusmoreoftherealspiritoftheItalianRenaissance，ofthedreamofSavonarolaandofthesinofBorgia，thanallthebrawlingboorsandcookingwomenofDutchartcanteachusoftherealspiritofthehistoryofHolland？
Andsoinourownday，also，thetwomostvitaltendenciesofthenineteenthcentury—thedemocraticandpantheistictendencyandthetendencytovaluelifeforthesakeofart—foundtheirmostcompleteandperfectutteranceinthepoetryofShelleyandKeatswho，totheblindeyesoftheirowntime，seemedtobeaswanderersinthewilderness，preachersofvagueorunrealthings.AndI
rememberonce，intalkingtoMr.Burne—Jonesaboutmodernscience，hissayingtome，’themorematerialisticsciencebecomes，themoreangelsshallIpaint：theirwingsaremyprotestinfavouroftheimmortalityofthesoul.’
Butthesearetheintellectualspeculationsthatunderlieart.
Whereintheartsthemselvesarewetofindthatbreadthofhumansympathywhichistheconditionofallnoblework;whereintheartsarewetolookforwhatMazziniwouldcallthesocialideasasopposedtothemerelypersonalideas？ByvirtueofwhatclaimdoI
demandfortheartisttheloveandloyaltyofthemenandwomenoftheworld？IthinkIcananswerthat.
Whateverspiritualmessageanartistbringstohisaidisamatterforhisownsoul.HemaybringjudgmentlikeMichaelAngeloorpeacelikeAngelico;hemaycomewithmourninglikethegreatAthenianorwithmirthlikethesingerofSicily;norisitforustodoaughtbutaccepthisteaching，knowingthatwecannotsmitethebitterlipsofLeopardiintolaughterorburdenwithourdiscontentGoethe’sserenecalm.Butforwarrantofitstruthsuchmessagemusthavetheflameofeloquenceinthelipsthatspeakit，splendourandgloryinthevisionthatisitswitness，beingjustifiedbyonethingonly—theflawlessbeautyandperfectformofitsexpression：thisindeedbeingthesocialidea，beingthemeaningofjoyinart.
Notlaughterwherenoneshouldlaugh，northecallingofpeacewherethereisnopeace;notinpaintingthesubjectever，butthepictorialcharmonly，thewonderofitscolour，thesatisfyingbeautyofitsdesign.
Youhavemostofyouseen，probably，thatgreatmasterpieceofRubenswhichhangsinthegalleryofBrussels，thatswiftandwonderfulpageantofhorseandriderarrestedinitsmostexquisiteandfierymomentwhenthewindsarecaughtincrimsonbannerandtheairlitbythegleamofarmourandtheflashofplume.Well，thatisjoyinart，thoughthatgoldenhillsidebetroddenbythewoundedfeetofChristanditisforthedeathoftheSonofManthatthatgorgeouscavalcadeispassing.
Butthisrestlessmodernintellectualspiritofoursisnotreceptiveenoughofthesensuouselementofart;andsotherealinfluenceoftheartsishiddenfrommanyofus：onlyafew，escapingfromthetyrannyofthesoul，havelearnedthesecretofthosehighhourswhenthoughtisnot.
AndthisindeedisthereasonoftheinfluencewhichEasternartishavingonusinEurope，andofthefascinationofallJapanesework.WhiletheWesternworldhasbeenlayingonarttheintolerableburdenofitsownintellectualdoubtsandthespiritualtragedyofitsownsorrows，theEasthasalwayskepttruetoart’sprimaryandpictorialconditions.
Injudgingofabeautifulstatuetheaestheticfacultyisabsolutelyandcompletelygratifiedbythesplendidcurvesofthosemarblelipsthataredumbtoourcomplaint，thenoblemodellingofthoselimbsthatarepowerlesstohelpus.InitsprimaryaspectapaintinghasnomorespiritualmessageormeaningthananexquisitefragmentofVenetianglassorabluetilefromthewallofDamascus：itisabeautifullycolouredsurface，nothingmore.Thechannelsbywhichallnobleimaginativeworkinpaintingshouldtouch，anddotouchthesoul，arenotthoseofthetruthsoflife，normetaphysicaltruths.Butthatpictorialcharmwhichdoesnotdependonanyliteraryreminiscenceforitseffectontheonehand，norisyetamereresultofcommunicabletechnicalskillontheother，comesofacertaininventiveandcreativehandlingofcolour.NearlyalwaysinDutchpaintingandoftenintheworksofGiorgioneorTitian，itisentirelyindependentofanythingdefinitelypoeticalinthesubject，akindofformandchoiceinworkmanshipwhichisitselfentirelysatisfying，andis（astheGreekswouldsay）anendinitself.
Andsoinpoetrytoo，therealpoeticalquality，thejoyofpoetry，comesneverfromthesubjectbutfromaninventivehandlingofrhythmicallanguage，fromwhatKeatscalledthe’sensuouslifeofverse.’Theelementofsonginthesingingaccompaniedbytheprofoundjoyofmotion，issosweetthat，whiletheincompletelivesofordinarymenbringnohealingpowerwiththem，thethorn—
crownofthepoetwillblossomintorosesforourpleasure;forourdelighthisdespairwillgilditsownthorns，andhispain，likeAdonis，bebeautifulinitsagony;andwhenthepoet’sheartbreaksitwillbreakinmusic.
Andhealthinart—whatisthat？Ithasnothingtodowithasanecriticismoflife.ThereismorehealthinBaudelairethanthereisin[Kingsley].Healthistheartist’srecognitionofthelimitationsoftheforminwhichheworks.Itisthehonourandthehomagewhichhegivestothematerialheuses—whetheritbelanguagewithitsglories，ormarbleorpigmentwiththeirglories—knowingthatthetruebrotherhoodoftheartsconsistsnotintheirborrowingoneanother’smethod，butintheirproducing，eachofthembyitsownindividualmeans，eachofthembykeepingitsobjectivelimits，thesameuniqueartisticdelight.Thedelightislikethatgiventousbymusic—formusicistheartinwhichformandmatterarealwaysone，theartwhosesubjectcannotbeseparatedfromthemethodofitsexpression，theartwhichmostcompletelyrealisestheartisticideal，andistheconditiontowhichalltheotherartsareconstantlyaspiring.
Andcriticism—whatplaceisthattohaveinourculture？Well，I
thinkthatthefirstdutyofanartcriticistoholdhistongueatalltimes，anduponallsubjects：C’ESTUNGRANDAVANTAGEDE
N’AVOIRRIENFAIT，MAISILNEFAUTPASENABUSER.
Itisonlythroughthemysteryofcreationthatonecangainanyknowledgeofthequalityofcreatedthings.YouhavelistenedtoPATIENCEforahundrednightsandyouhaveheardmeforoneonly.
Itwillmake，nodoubt，thatsatiremorepiquantbyknowingsomethingaboutthesubjectofit，butyoumustnotjudgeofaestheticismbythesatireofMr.Gilbert.Aslittleshouldyoujudgeofthestrengthandsplendourofsunorseabythedustthatdancesinthebeam，orthebubblethatbreaksonthewave，astakeyourcriticforanysanetestofart.Fortheartists，liketheGreekgods，arerevealedonlytooneanother，asEmersonsayssomewhere;theirrealvalueandplacetimeonlycanshow.Inthisrespectalsoomnipotenceiswiththeages.Thetruecriticaddressesnottheartisteverbutthepubliconly.Hisworklieswiththem.Artcanneverhaveanyotherclaimbutherownperfection：itisforthecritictocreateforartthesocialaim，too，byteachingthepeoplethespiritinwhichtheyaretoapproachallartisticwork，thelovetheyaretogiveit，thelessontheyaretodrawfromit.
Alltheseappealstoarttosetherselfmoreinharmonywithmodernprogressandcivilisation，andtomakeherselfthemouthpieceforthevoiceofhumanity，theseappealstoart’tohaveamission，’