Heretheimitation，asfarasitwent，wasofcourseaccidental。
Inthefollowingcasetheimitationwasself-conscious。Intheyear1879，justafterIhadleftOxford，ImetatareceptionatthehouseofoneoftheForeignMinistersawomanofverycuriousexoticbeauty。Webecamegreatfriends，andwereconstantlytogether。Andyetwhatinterestedmemostinherwasnotherbeauty，buthercharacter，herentirevaguenessofcharacter。Sheseemedtohavenopersonalityatall，butsimplythepossibilityofmanytypes。Sometimesshewouldgiveherselfupentirelytoart，turnherdrawing-roomintoastudio，andspendtwoorthreedaysaweekatpicturegalleriesormuseums。Thenshewouldtaketoattendingrace-meetings，wearthemosthorseyclothes，andtalkaboutnothingbutbetting。Sheabandonedreligionformesmerism，mesmerismforpolitics，andpoliticsforthemelodramaticexcitementsofphilanthropy。Infact，shewasakindofProteus，andasmuchafailureinallhertransformationsaswasthatwondroussea-godwhenOdysseuslaidholdofhim。OnedayaserialbeganinoneoftheFrenchmagazines。AtthattimeIusedtoreadserialstories，andIwellremembertheshockofsurpriseIfeltwhenIcametothedescriptionoftheheroine。ShewassolikemyfriendthatIbroughtherthemagazine，andsherecognisedherselfinitimmediately，andseemedfascinatedbytheresemblance。I
shouldtellyou，bytheway，thatthestorywastranslatedfromsomedeadRussianwriter，sothattheauthorhadnottakenhistypefrommyfriend。Well，toputthematterbriefly，somemonthsafterwardsIwasinVenice，andfindingthemagazineinthereading-roomofthehotel，Itookitupcasuallytoseewhathadbecomeoftheheroine。Itwasamostpiteoustale，asthegirlhadendedbyrunningawaywithamanabsolutelyinferiortoher，notmerelyinsocialstation，butincharacterandintellectalso。I
wrotetomyfriendthateveningaboutmyviewsonJohnBellini，andtheadmirableicesatFlorian’s，andtheartisticvalueofgondolas，butaddedapostscripttotheeffectthatherdoubleinthestoryhadbehavedinaverysillymanner。Idon’tknowwhyI
addedthat，butIrememberIhadasortofdreadovermethatshemightdothesamething。Beforemyletterhadreachedher，shehadrunawaywithamanwhodesertedherinsixmonths。Isawherin1884inParis，whereshewaslivingwithhermother，andIaskedherwhetherthestoryhadhadanythingtodowithheraction。Shetoldmethatshehadfeltanabsolutelyirresistibleimpulsetofollowtheheroinestepbystepinherstrangeandfatalprogress，andthatitwaswithafeelingofrealterrorthatshehadlookedforwardtothelastfewchaptersofthestory。Whentheyappeared，itseemedtoherthatshewascompelledtoreproducetheminlife，andshedidso。ItwasamostclearexampleofthisimitativeinstinctofwhichIwasspeaking，andanextremelytragicone。
However，Idonotwishtodwellanyfurtheruponindividualinstances。Personalexperienceisamostviciousandlimitedcircle。AllthatIdesiretopointoutisthegeneralprinciplethatLifeimitatesArtfarmorethanArtimitatesLife，andIfeelsurethatifyouthinkseriouslyaboutityouwillfindthatitistrue。LifeholdsthemirroruptoArt，andeitherreproducessomestrangetypeimaginedbypainterorsculptor，orrealisesinfactwhathasbeendreamedinfiction。Scientificallyspeaking，thebasisoflife-theenergyoflife，asAristotlewouldcallit-issimplythedesireforexpression，andArtisalwayspresentingvariousformsthroughwhichthisexpressioncanbeattained。Lifeseizesonthemandusesthem，eveniftheybetoherownhurt。
YoungmenhavecommittedsuicidebecauseRolladidso，havediedbytheirownhandbecausebyhisownhandWertherdied。ThinkofwhatweowetotheimitationofChrist，ofwhatweowetotheimitationofCaesar。
CYRIL。Thetheoryiscertainlyaverycuriousone，buttomakeitcompleteyoumustshowthatNature，nolessthanLife，isanimitationofArt。Areyoupreparedtoprovethat？
VIVIAN。Mydearfellow，Iampreparedtoproveanything。
CYRIL。Naturefollowsthelandscapepainter，then，andtakeshereffectsfromhim？
VIVIAN。Certainly。Where，ifnotfromtheImpressionists，dowegetthosewonderfulbrownfogsthatcomecreepingdownourstreets，blurringthegas-lampsandchangingthehousesintomonstrousshadows？Towhom，ifnottothemandtheirmaster，doweowethelovelysilvermiststhatbroodoverourriver，andturntofaintformsoffadinggracecurvedbridgeandswayingbarge？TheextraordinarychangethathastakenplaceintheclimateofLondonduringthelasttenyearsisentirelyduetoaparticularschoolofArt。Yousmile。Considerthematterfromascientificorametaphysicalpointofview，andyouwillfindthatIamright。ForwhatisNature？Natureisnogreatmotherwhohasborneus。Sheisourcreation。Itisinourbrainthatshequickenstolife。
Thingsarebecauseweseethem，andwhatwesee，andhowweseeit，dependsontheArtsthathaveinfluencedus。Tolookatathingisverydifferentfromseeingathing。Onedoesnotseeanythinguntiloneseesitsbeauty。Then，andthenonly，doesitcomeintoexistence。Atpresent，peopleseefogs，notbecausetherearefogs，butbecausepoetsandpaintershavetaughtthemthemysteriouslovelinessofsucheffects。TheremayhavebeenfogsforcenturiesinLondon。Idaresaytherewere。Butnoonesawthem，andsowedonotknowanythingaboutthem。TheydidnotexisttillArthadinventedthem。Now，itmustbeadmitted，fogsarecarriedtoexcess。Theyhavebecomethemeremannerismofaclique，andtheexaggeratedrealismoftheirmethodgivesdullpeoplebronchitis。Wheretheculturedcatchaneffect，theunculturedcatchcold。Andso，letusbehumane，andinviteArttoturnherwonderfuleyeselsewhere。Shehasdonesoalready，indeed。ThatwhitequiveringsunlightthatoneseesnowinFrance，withitsstrangeblotchesofmauve，anditsrestlessvioletshadows，isherlatestfancy，and，onthewhole，Naturereproducesitquiteadmirably。WheresheusedtogiveusCorotsandDaubignys，shegivesusnowexquisiteMonetsandentrancingPissaros。Indeedtherearemoments，rare，itistrue，butstilltobeobservedfromtimetotime，whenNaturebecomesabsolutelymodern。Ofcoursesheisnotalwaystobereliedupon。Thefactisthatsheisinthisunfortunateposition。Artcreatesanincomparableanduniqueeffect，and，havingdoneso，passesontootherthings。Nature，upontheotherhand，forgettingthatimitationcanbemadethesincerestformofinsult，keepsonrepeatingthiseffectuntilweallbecomeabsolutelyweariedofit。
Nobodyofanyrealculture，forinstance，evertalksnowadaysaboutthebeautyofasunset。Sunsetsarequiteold-fashioned。TheybelongtothetimewhenTurnerwasthelastnoteinart。Toadmirethemisadistinctsignofprovincialismoftemperament。Upontheotherhandtheygoon。YesterdayeveningMrs。Arundelinsistedonmygoingtothewindow，andlookingattheglorioussky，asshecalledit。OfcourseIhadtolookatit。SheisoneofthoseabsurdlyprettyPhilistinestowhomonecandenynothing。Andwhatwasit？Itwassimplyaverysecond-rateTurner，aTurnerofabadperiod，withallthepainter’sworstfaultsexaggeratedandover-
emphasised。Ofcourse，IamquitereadytoadmitthatLifeveryoftencommitsthesameerror。SheproducesherfalseRenesandhershamVautrins，justasNaturegivesus，ononedayadoubtfulCuyp，andonanotheramorethanquestionableRousseau。Still，Natureirritatesonemorewhenshedoesthingsofthatkind。Itseemssostupid，soobvious，sounnecessary。AfalseVautrinmightbedelightful。AdoubtfulCuypisunbearable。However，Idon’twanttobetoohardonNature。IwishtheChannel，especiallyatHastings，didnotlookquitesooftenlikeaHenryMoore，greypearlwithyellowlights，butthen，whenArtismorevaried，Naturewill，nodoubt，bemorevariedalso。ThatsheimitatesArt，I
don’tthinkevenherworstenemywoulddenynow。Itistheonethingthatkeepsherintouchwithcivilisedman。ButhaveI
provedmytheorytoyoursatisfaction？
CYRIL。Youhaveprovedittomydissatisfaction，whichisbetter。
ButevenadmittingthisstrangeimitativeinstinctinLifeandNature，surelyyouwouldacknowledgethatArtexpressesthetemperofitsage，thespiritofitstime，themoralandsocialconditionsthatsurroundit，andunderwhoseinfluenceitisproduced。
VIVIAN。Certainlynot！Artneverexpressesanythingbutitself。
Thisistheprincipleofmynewaesthetics；anditisthis，morethanthatvitalconnectionbetweenformandsubstance，onwhichMr。
Paterdwells，thatmakesmusicthetypeofallthearts。Ofcourse，nationsandindividuals，withthathealthynaturalvanitywhichisthesecretofexistence，arealwaysundertheimpressionthatitisofthemthattheMusesaretalking，alwaystryingtofindinthecalmdignityofimaginativeartsomemirroroftheirownturbidpassions，alwaysforgettingthatthesingeroflifeisnotApollobutMarsyas。Remotefromreality，andwithhereyesturnedawayfromtheshadowsofthecave，Artrevealsherownperfection，andthewonderingcrowdthatwatchestheopeningofthemarvellous，many-petalledrosefanciesthatitisitsownhistorythatisbeingtoldtoit，itsownspiritthatisfindingexpressioninanewform。Butitisnotso。Thehighestartrejectstheburdenofthehumanspirit，andgainsmorefromanewmediumorafreshmaterialthanshedoesfromanyenthusiasmforart，orfromanyloftypassion，orfromanygreatawakeningofthehumanconsciousness。Shedevelopspurelyonherownlines。Sheisnotsymbolicofanyage。Itistheagesthatarehersymbols。
EventhosewhoholdthatArtisrepresentativeoftimeandplaceandpeoplecannothelpadmittingthatthemoreimitativeanartis，thelessitrepresentstousthespiritofitsage。TheevilfacesoftheRomanemperorslookoutatusfromthefoulporphyryandspottedjasperinwhichtherealisticartistsofthedaydelightedtowork，andwefancythatinthosecruellipsandheavysensualjawswecanfindthesecretoftheruinoftheEmpire。Butitwasnotso。ThevicesofTiberiuscouldnotdestroythatsupremecivilisation，anymorethanthevirtuesoftheAntoninescouldsaveit。Itfellforother，forlessinterestingreasons。ThesibylsandprophetsoftheSistinemayindeedservetointerpretforsomethatnewbirthoftheemancipatedspiritthatwecalltheRenaissance；butwhatdothedrunkenboorsandbawlingpeasantsofDutcharttellusaboutthegreatsoulofHolland？Themoreabstract，themoreidealanartis，themoreitrevealstousthetemperofitsage。Ifwewishtounderstandanationbymeansofitsart，letuslookatitsarchitectureoritsmusic。
CYRIL。Iquiteagreewithyouthere。Thespiritofanagemaybebestexpressedintheabstractidealarts，forthespirititselfisabstractandideal。Upontheotherhand，forthevisibleaspectofanage，foritslook，asthephrasegoes，wemustofcoursegototheartsofimitation。
VIVIAN。Idon’tthinkso。Afterall，whattheimitativeartsreallygiveusaremerelythevariousstylesofparticularartists，orofcertainschoolsofartists。Surelyyoudon’timaginethatthepeopleoftheMiddleAgesboreanyresemblanceatalltothefiguresonmediaevalstainedglass，orinmediaevalstoneandwoodcarving，oronmediaevalmetal-work，ortapestries，orilluminatedMSS。Theywereprobablyveryordinary-lookingpeople，withnothinggrotesque，orremarkable，orfantasticintheirappearance。TheMiddleAges，asweknowtheminart，aresimplyadefiniteformofstyle，andthereisnoreasonatallwhyanartistwiththisstyleshouldnotbeproducedinthenineteenthcentury。Nogreatartisteverseesthingsastheyreallyare。Ifhedid，hewouldceasetobeanartist。Takeanexamplefromourownday。IknowthatyouarefondofJapanesethings。Now，doyoureallyimaginethattheJapanesepeople，astheyarepresentedtousinart，haveanyexistence？Ifyoudo，youhaveneverunderstoodJapaneseartatall。TheJapanesepeoplearethedeliberateself-consciouscreationofcertainindividualartists。IfyousetapicturebyHokusai，orHokkei，oranyofthegreatnativepainters，besidearealJapanesegentlemanorlady，youwillseethatthereisnottheslightestresemblancebetweenthem。TheactualpeoplewholiveinJapanarenotunlikethegeneralrunofEnglishpeople；thatistosay，theyareextremelycommonplace，andhavenothingcuriousorextraordinaryaboutthem。InfactthewholeofJapanisapureinvention。Thereisnosuchcountry，therearenosuchpeople。
OneofourmostcharmingpainterswentrecentlytotheLandoftheChrysanthemuminthefoolishhopeofseeingtheJapanese。Allhesaw，allhehadthechanceofpainting，wereafewlanternsandsomefans。Hewasquiteunabletodiscovertheinhabitants，ashisdelightfulexhibitionatMessrs。Dowdeswell’sGalleryshowedonlytoowell。HedidnotknowthattheJapanesepeopleare，asIhavesaid，simplyamodeofstyle，anexquisitefancyofart。Andso，ifyoudesiretoseeaJapaneseeffect，youwillnotbehavelikeatouristandgotoTokio。Onthecontrary，youwillstayathomeandsteepyourselfintheworkofcertainJapaneseartists，andthen，whenyouhaveabsorbedthespiritoftheirstyle，andcaughttheirimaginativemannerofvision，youwillgosomeafternoonandsitintheParkorstrolldownPiccadilly，andifyoucannotseeanabsolutelyJapaneseeffectthere，youwillnotseeitanywhere。
Or，toreturnagaintothepast，takeasanotherinstancetheancientGreeks。DoyouthinkthatGreekartevertellsuswhattheGreekpeoplewerelike？DoyoubelievethattheAthenianwomenwerelikethestatelydignifiedfiguresoftheParthenonfrieze，orlikethosemarvellousgoddesseswhosatinthetriangularpedimentsofthesamebuilding？Ifyoujudgefromtheart，theycertainlywereso。Butreadanauthority，likeAristophanes，forinstance。
YouwillfindthattheAthenianladieslacedtightly，worehigh-
heeledshoes，dyedtheirhairyellow，paintedandrougedtheirfaces，andwereexactlylikeanysillyfashionableorfallencreatureofourownday。Thefactisthatwelookbackontheagesentirelythroughthemediumofart，andart，veryfortunately，hasneveroncetoldusthetruth。
CYRIL。ButmodernportraitsbyEnglishpainters，whatofthem？
Surelytheyarelikethepeopletheypretendtorepresent？
VIVIAN。Quiteso。Theyaresolikethemthatahundredyearsfromnownoonewillbelieveinthem。Theonlyportraitsinwhichonebelievesareportraitswherethereisverylittleofthesitter，andaverygreatdealoftheartist。Holbein’sdrawingsofthemenandwomenofhistimeimpressuswithasenseoftheirabsolutereality。ButthisissimplybecauseHolbeincompelledlifetoaccepthisconditions，torestrainitselfwithinhislimitations，toreproducehistype，andtoappearashewishedittoappear。Itisstylethatmakesusbelieveinathing-nothingbutstyle。
Mostofourmodernportraitpaintersaredoomedtoabsoluteoblivion。Theyneverpaintwhattheysee。Theypaintwhatthepublicsees，andthepublicneverseesanything。
CYRIL。Well，afterthatIthinkIshouldliketoheartheendofyourarticle。
VIVIAN。Withpleasure。WhetheritwilldoanygoodIreallycannotsay。Oursiscertainlythedullestandmostprosaiccenturypossible。Why，evenSleephasplayedusfalse，andhasclosedupthegatesofivory，andopenedthegatesofhorn。Thedreamsofthegreatmiddleclassesofthiscountry，asrecordedinMr。
Myers’stwobulkyvolumesonthesubject，andintheTransactionsofthePsychicalSociety，arethemostdepressingthingsthatI
haveeverread。Thereisnotevenafinenightmareamongthem。
Theyarecommonplace，sordidandtedious。AsfortheChurch，I
cannotconceiveanythingbetterforthecultureofacountrythanthepresenceinitofabodyofmenwhosedutyitistobelieveinthesupernatural，toperformdailymiracles，andtokeepalivethatmythopoeicfacultywhichissoessentialfortheimagination。ButintheEnglishChurchamansucceeds，notthroughhiscapacityforbelief，butthroughhiscapacityfordisbelief。OursistheonlyChurchwherethescepticstandsatthealtar，andwhereSt。Thomasisregardedastheidealapostle。Manyaworthyclergyman，whopasseshislifeinadmirableworksofkindlycharity，livesanddiesunnoticedandunknown；butitissufficientforsomeshallowuneducatedpassmanoutofeitherUniversitytogetupinhispulpitandexpresshisdoubtsaboutNoah’sark，orBalaam’sass，orJonahandthewhale，forhalfofLondontoflocktohearhim，andtositopen-mouthedinraptadmirationathissuperbintellect。ThegrowthofcommonsenseintheEnglishChurchisathingverymuchtoberegretted。Itisreallyadegradingconcessiontoalowformofrealism。Itissilly，too。Itspringsfromanentireignoranceofpsychology。Mancanbelievetheimpossible，butmancanneverbelievetheimprobable。However，Imustreadtheendofmyarticle：-
’Whatwehavetodo，whatatanyrateitisourdutytodo，istorevivethisoldartofLying。Muchofcoursemaybedone，inthewayofeducatingthepublic，byamateursinthedomesticcircle，atliterarylunches，andatafternoonteas。Butthisismerelythelightandgracefulsideoflying，suchaswasprobablyheardatCretandinner-parties。Therearemanyotherforms。Lyingforthesakeofgainingsomeimmediatepersonaladvantage，forinstance-
lyingwithamoralpurpose，asitisusuallycalled-thoughoflateithasbeenratherlookeddownupon，wasextremelypopularwiththeantiqueworld。AthenalaughswhenOdysseustellsher\"hiswordsofslydevising，\"asMr。WilliamMorrisphrasesit，andthegloryofmendacityilluminesthepalebrowofthestainlessheroofEuripideantragedy，andsetsamongthenoblewomenofthepasttheyoungbrideofoneofHorace’smostexquisiteodes。Lateron，whatatfirsthadbeenmerelyanaturalinstinctwaselevatedintoaself-consciousscience。Elaborateruleswerelaiddownfortheguidanceofmankind，andanimportantschoolofliteraturegrewuproundthesubject。Indeed，whenonerememberstheexcellentphilosophicaltreatiseofSanchezonthewholequestion，onecannothelpregrettingthatnoonehaseverthoughtofpublishingacheapandcondensededitionoftheworksofthatgreatcasuist。Ashortprimer，\"WhentoLieandHow，\"ifbroughtoutinanattractiveandnottooexpensiveaform，wouldnodoubtcommandalargesale，andwouldproveofrealpracticalservicetomanyearnestanddeep-
thinkingpeople。Lyingforthesakeoftheimprovementoftheyoung，whichisthebasisofhomeeducation，stilllingersamongstus，anditsadvantagesaresoadmirablysetforthintheearlybooksofPlato’sREPUBLICthatitisunnecessarytodwelluponthemhere。Itisamodeoflyingforwhichallgoodmothershavepeculiarcapabilities，butitiscapableofstillfurtherdevelopment，andhasbeensadlyoverlookedbytheSchoolBoard。
LyingforthesakeofamonthlysalaryisofcoursewellknowninFleetStreet，andtheprofessionofapoliticalleader-writerisnotwithoutitsadvantages。Butitissaidtobeasomewhatdulloccupation，anditcertainlydoesnotleadtomuchbeyondakindofostentatiousobscurity。Theonlyformoflyingthatisabsolutelybeyondreproachislyingforitsownsake，andthehighestdevelopmentofthisis，aswehavealreadypointedout，LyinginArt。JustasthosewhodonotlovePlatomorethanTruthcannotpassbeyondthethresholdoftheAcademe，sothosewhodonotloveBeautymorethanTruthneverknowtheinmostshrineofArt。ThesolidstolidBritishintellectliesinthedesertsandsliketheSphinxinFlaubert’smarvelloustale，andfantasy，LACHIMERE，dancesroundit，andcallstoitwithherfalse，flute-tonedvoice。
Itmaynothearhernow，butsurelysomeday，whenweareallboredtodeathwiththecommonplacecharacterofmodernfiction，itwillhearkentoherandtrytoborrowherwings。
’Andwhenthatdaydawns，orsunsetreddens，howjoyousweshallallbe！Factswillberegardedasdiscreditable，Truthwillbefoundmourningoverherfetters，andRomance，withhertemperofwonder，willreturntotheland。Theveryaspectoftheworldwillchangetoourstartledeyes。OutoftheseawillriseBehemothandLeviathan，andsailroundthehigh-poopedgalleys，astheydoonthedelightfulmapsofthoseageswhenbooksongeographywereactuallyreadable。Dragonswillwanderaboutthewasteplaces，andthephoenixwillsoarfromhernestoffireintotheair。Weshalllayourhandsuponthebasilisk，andseethejewelinthetoad’shead。Champinghisgildedoats，theHippogriffwillstandinourstalls，andoverourheadswillfloattheBlueBirdsingingofbeautifulandimpossiblethings，ofthingsthatarelovelyandthatneverhappen，ofthingsthatarenotandthatshouldbe。ButbeforethiscomestopasswemustcultivatethelostartofLying。’
CYRIL。Thenwemustentirelycultivateitatonce。ButinordertoavoidmakinganyerrorIwantyoutotellmebrieflythedoctrinesofthenewaesthetics。
VIVIAN。Briefly，then，theyarethese。Artneverexpressesanythingbutitself。Ithasanindependentlife，justasThoughthas，anddevelopspurelyonitsownlines。Itisnotnecessarilyrealisticinanageofrealism，norspiritualinanageoffaith。
Sofarfrombeingthecreationofitstime，itisusuallyindirectoppositiontoit，andtheonlyhistorythatitpreservesforusisthehistoryofitsownprogress。Sometimesitreturnsuponitsfootsteps，andrevivessomeantiqueform，ashappenedinthearchaisticmovementoflateGreekArt，andinthepre-Raphaelitemovementofourownday。Atothertimesitentirelyanticipatesitsage，andproducesinonecenturyworkthatittakesanothercenturytounderstand，toappreciateandtoenjoy。Innocasedoesitreproduceitsage。Topassfromtheartofatimetothetimeitselfisthegreatmistakethatallhistorianscommit。
Theseconddoctrineisthis。AllbadartcomesfromreturningtoLifeandNature，andelevatingthemintoideals。LifeandNaturemaysometimesbeusedaspartofArt’sroughmaterial，butbeforetheyareofanyrealservicetoarttheymustbetranslatedintoartisticconventions。ThemomentArtsurrendersitsimaginativemediumitsurrenderseverything。AsamethodRealismisacompletefailure，andthetwothingsthateveryartistshouldavoidaremodernityofformandmodernityofsubject-matter。Tous，wholiveinthenineteenthcentury，anycenturyisasuitablesubjectforartexceptourown。Theonlybeautifulthingsarethethingsthatdonotconcernus。Itis，tohavethepleasureofquotingmyself，exactlybecauseHecubaisnothingtousthathersorrowsaresosuitableamotiveforatragedy。Besides，itisonlythemodernthateverbecomesold-fashioned。M。ZolasitsdowntogiveusapictureoftheSecondEmpire。WhocaresfortheSecondEmpirenow？
Itisoutofdate。LifegoesfasterthanRealism，butRomanticismisalwaysinfrontofLife。
ThethirddoctrineisthatLifeimitatesArtfarmorethanArtimitatesLife。ThisresultsnotmerelyfromLife’simitativeinstinct，butfromthefactthattheself-consciousaimofLifeistofindexpression，andthatArtoffersitcertainbeautifulformsthroughwhichitmayrealisethatenergy。Itisatheorythathasneverbeenputforwardbefore，butitisextremelyfruitful，andthrowsanentirelynewlightuponthehistoryofArt。
Itfollows，asacorollaryfromthis，thatexternalNaturealsoimitatesArt。Theonlyeffectsthatshecanshowusareeffectsthatwehavealreadyseenthroughpoetry，orinpaintings。ThisisthesecretofNature’scharm，aswellastheexplanationofNature’sweakness。
ThefinalrevelationisthatLying，thetellingofbeautifuluntruethings，istheproperaimofArt。ButofthisIthinkIhavespokenatsufficientlength。Andnowletusgooutontheterrace，where’droopsthemilk-whitepeacocklikeaghost，’whiletheeveningstar’washestheduskwithsilver。’Attwilightnaturebecomesawonderfullysuggestiveeffect，andisnotwithoutloveliness，thoughperhapsitschiefuseistoillustratequotationsfromthepoets。Come！Wehavetalkedlongenough。
PEN，PENCILANDPOISON-ASTUDYINGREEN
Ithasconstantlybeenmadeasubjectofreproachagainstartistsandmenoflettersthattheyarelackinginwholenessandcompletenessofnature。Asarulethismustnecessarilybeso。
Thatveryconcentrationofvisionandintensityofpurposewhichisthecharacteristicoftheartistictemperamentisinitselfamodeoflimitation。Tothosewhoarepreoccupiedwiththebeautyofformnothingelseseemsofmuchimportance。Yettherearemanyexceptionstothisrule。Rubensservedasambassador，andGoetheasstatecouncillor，andMiltonasLatinsecretarytoCromwell。
Sophoclesheldcivicofficeinhisowncity；thehumourists，essayists，andnovelistsofmodernAmericaseemtodesirenothingbetterthantobecomethediplomaticrepresentativesoftheircountry；andCharlesLamb’sfriend，ThomasGriffithsWainewright，thesubjectofthisbriefmemoir，thoughofanextremelyartistictemperament，followedmanymastersotherthanart，beingnotmerelyapoetandapainter，anart-critic，anantiquarian，andawriterofprose，anamateurofbeautifulthings，andadilettanteofthingsdelightful，butalsoaforgerofnomeanorordinarycapabilities，andasasubtleandsecretpoisoneralmostwithoutrivalinthisoranyage。
Thisremarkableman，sopowerfulwith’pen，pencilandpoison，’asagreatpoetofourowndayhasfinelysaidofhim，wasbornatChiswick，in1794。HisfatherwasthesonofadistinguishedsolicitorofGray’sInnandHattonGarden。HismotherwasthedaughterofthecelebratedDr。Griffiths，theeditorandfounderoftheMONTHLYREVIEW，thepartnerinanotherliteraryspeculationofThomasDavis，thatfamousbooksellerofwhomJohnsonsaidthathewasnotabookseller，but’agentlemanwhodealtinbooks，’thefriendofGoldsmithandWedgwood，andoneofthemostwell-knownmenofhisday。Mrs。Wainewrightdied，ingivinghimbirth，attheearlyageoftwenty-one，andanobituarynoticeintheGENTLEMAN’S
MAGAZINEtellsusofher’amiabledispositionandnumerousaccomplishments，’andaddssomewhatquaintlythat’sheissupposedtohaveunderstoodthewritingsofMr。Lockeaswellasperhapsanypersonofeithersexnowliving。’Hisfatherdidnotlongsurvivehisyoungwife，andthelittlechildseemstohavebeenbroughtupbyhisgrandfather，and，onthedeathofthelatterin1803，byhisuncleGeorgeEdwardGriffiths，whomhesubsequentlypoisoned。HisboyhoodwaspassedatLindenHouse，TurnhamGreen，oneofthosemanyfineGeorgianmansionsthathaveunfortunatelydisappearedbeforetheinroadsofthesuburbanbuilder，andtoitslovelygardensandwell-timberedparkheowedthatsimpleandimpassionedloveofnaturewhichneverlefthimallthroughhislife，andwhichmadehimsopeculiarlysusceptibletothespiritualinfluencesofWordsworth’spoetry。HewenttoschoolatCharlesBurney’sacademyatHammersmith。Mr。Burneywasthesonofthehistorianofmusic，andthenearkinsmanoftheartisticladwhowasdestinedtoturnouthismostremarkablepupil。Heseemstohavebeenamanofagooddealofculture，andinafteryearsMr。Wainewrightoftenspokeofhimwithmuchaffectionasaphilosopher，anarchaeologist，andanadmirableteacherwho，whilehevaluedtheintellectualsideofeducation，didnotforgettheimportanceofearlymoraltraining。ItwasunderMr。Burneythathefirstdevelopedhistalentasanartist，andMr。Hazlitttellsusthatadrawing-bookwhichheusedatschoolisstillextant，anddisplaysgreattalentandnaturalfeeling。Indeed，paintingwasthefirstartthatfascinatedhim。Itwasnottillmuchlaterthathesoughttofindexpressionbypenorpoison。
Beforethis，however，heseemstohavebeencarriedawaybyboyishdreamsoftheromanceandchivalryofasoldier’slife，andtohavebecomeayoungguardsman。Buttherecklessdissipatedlifeofhiscompanionsfailedtosatisfytherefinedartistictemperamentofonewhowasmadeforotherthings。Inashorttimeheweariedoftheservice。’Art，’hetellsus，inwordsthatstillmovemanybytheirardentsincerityandstrangefervour，’Arttouchedherrenegade；byherpureandhighinfluencethenoisomemistswerepurged；myfeelings，parched，hot，andtarnished，wererenovatedwithcool，freshbloom，simple，beautifultothesimple-hearted。’
ButArtwasnottheonlycauseofthechange。’ThewritingsofWordsworth，’hegoesontosay，’didmuchtowardscalmingtheconfusingwhirlnecessarilyincidenttosuddenmutations。Iweptoverthemtearsofhappinessandgratitude。’Heaccordinglyleftthearmy，withitsroughbarrack-lifeandcoarsemess-roomtittle-
tattle，andreturnedtoLindenHouse，fullofthisnew-bornenthusiasmforculture。Asevereillness，inwhich，tousehisownwords，hewas’brokenlikeavesselofclay，’prostratedhimforatime。Hisdelicatelystrungorganisation，howeverindifferentitmighthavebeentoinflictingpainonothers，wasitselfmostkeenlysensitivetopain。Heshrankfromsufferingasathingthatmarsandmaimshumanlife，andseemstohavewanderedthroughthatterriblevalleyofmelancholiafromwhichsomanygreat，perhapsgreater，spiritshaveneveremerged。Buthewasyoung-onlytwenty-fiveyearsofage-andhesoonpassedoutofthe’deadblackwaters，’ashecalledthem，intothelargerairofhumanisticculture。Ashewasrecoveringfromtheillnessthathadledhimalmosttothegatesofdeath，heconceivedtheideaoftakingupliteratureasanart。’IsaidwithJohnWoodvil，’hecries，’itwerealifeofgodstodwellinsuchanelement，’toseeandhearandwritebravethings：-
’ThesehighandgustyrelishesoflifeHavenoallayingsofmortality。’
Itisimpossiblenottofeelthatinthispassagewehavetheutteranceofamanwhohadatruepassionforletters。’Toseeandhearandwritebravethings，’thiswashisaim。
Scott，theeditoroftheLONDONMAGAZINE，struckbytheyoungman’sgenius，orundertheinfluenceofthestrangefascinationthatheexercisedoneveryonewhoknewhim，invitedhimtowriteaseriesofarticlesonartisticsubjects，andunderaseriesoffancifulpseudonymhebegantocontributetotheliteratureofhisday。
JANUSWEATHERCOCK，EGOMETBONMOT，andVANVINKVOOMS，weresomeofthegrotesquemasksunderwhichhechoosetohidehisseriousnessortorevealhislevity。Amasktellsusmorethanaface。Thesedisguisesintensifiedhispersonality。Inanincrediblyshorttimeheseemstohavemadehismark。CharlesLambspeaksof’kind，light-heartedWainewright，’whoseproseis’capital。’WehearofhimentertainingMacready，JohnForster，Maginn，Talfourd，SirWentworthDilke，thepoetJohnClare，andothers，atAPETIT-DINER。
LikeDisraeli，hedeterminedtostartlethetownasadandy，andhisbeautifulrings，hisantiquecameobreast-pin，andhispalelemon-colouredkidgloves，werewellknown，andindeedwereregardedbyHazlittasbeingthesignsofanewmannerinliterature：whilehisrichcurlyhair，fineeyes，andexquisitewhitehandsgavehimthedangerousanddelightfuldistinctionofbeingdifferentfromothers。TherewassomethinginhimofBalzac’sLuciendeRubempre。AttimesheremindsusofJulienSorel。DeQuinceysawhimonce。ItwasatadinneratCharlesLamb’s。’Amongstthecompany，allliterarymen，satamurderer，’
hetellsus，andhegoesontodescribehowonthatdayhehadbeenill，andhadhatedthefaceofmanandwoman，andyetfoundhimselflookingwithintellectualinterestacrossthetableattheyoungwriterbeneathwhoseaffectationsofmannerthereseemedtohimtoliesomuchunaffectedsensibility，andspeculateson’whatsuddengrowthofanotherinterest’wouldhavechangedhismood，hadheknownofwhatterriblesintheguesttowhomLambpaidsomuchattentionwaseventhenguilty。
Hislife-workfallsnaturallyunderthethreeheadssuggestedbyMr。Swinburne，anditmaybepartlyadmittedthat，ifwesetasidehisachievementsinthesphereofpoison，whathehasactuallylefttoushardlyjustifieshisreputation。
ButthenitisonlythePhilistinewhoseekstoestimateapersonalitybythevulgartestofproduction。Thisyoungdandysoughttobesomebody，ratherthantodosomething。HerecognisedthatLifeitselfisinart，andhasitsmodesofstylenolessthantheartsthatseektoexpressit。Norishisworkwithoutinterest。WehearofWilliamBlakestoppingintheRoyalAcademybeforeoneofhispicturesandpronouncingittobe’veryfine。’
Hisessaysareprefiguringofmuchthathassincebeenrealised。
Heseemstohaveanticipatedsomeofthoseaccidentsofmodernculturethatareregardedbymanyastrueessentials。HewritesaboutLaGioconda，andearlyFrenchpoetsandtheItalianRenaissance。HelovesGreekgems，andPersiancarpets，andElizabethantranslationsofCUPIDANDPSYCHE，andtheHYPNEROTOMACHIA，andbook-bindingandearlyeditions，andwide-
marginedproofs。Heiskeenlysensitivetothevalueofbeautifulsurroundings，andneverweariesofdescribingtoustheroomsinwhichhelived，orwouldhavelikedtolive。Hehadthatcuriousloveofgreen，whichinindividualsisalwaysthesignofasubtleartistictemperament，andinnationsissaidtodenotealaxity，ifnotadecadenceofmorals。LikeBaudelairehewasextremelyfondofcats，andwithGautier，hewasfascinatedbythat’sweetmarblemonster’ofbothsexesthatwecanstillseeatFlorenceandintheLouvre。
Thereisofcoursemuchinhisdescriptions，andhissuggestionsfordecoration，thatshowsthathedidnotentirelyfreehimselffromthefalsetasteofhistime。Butitisclearthathewasoneofthefirsttorecognisewhatis，indeed，theverykeynoteofaestheticeclecticism，Imeanthetrueharmonyofallreallybeautifulthingsirrespectiveofageorplace，ofschoolormanner。
Hesawthatindecoratingaroom，whichistobe，notaroomforshow，butaroomtolivein，weshouldneveraimatanyarchaeologicalreconstructionofthepast，norburdenourselveswithanyfancifulnecessityforhistoricalaccuracy。Inthisartisticperceptionhewasperfectlyright。Allbeautifulthingsbelongtothesameage。
Andso，inhisownlibrary，ashedescribesit，wefindthedelicatefictilevaseoftheGreek，withitsexquisitelypaintedfiguresandthefaint[Greektextwhichcannotbereproduced]
finelytraceduponitsside，andbehindithangsanengravingofthe’DelphicSibyl’ofMichaelAngelo，orofthe’Pastoral’ofGiorgione。HereisabitofFlorentinemajolica，andherearudelampfromsomeoldRomantomb。OnthetableliesabookofHours，’casedinacoverofsolidsilvergilt，wroughtwithquaintdevicesandstuddedwithsmallbrilliantsandrubies，’andclosebyit’squatsalittleuglymonster，aLar，perhaps，dugupinthesunnyfieldsofcorn-bearingSicily。’SomedarkantiquebronzescontrastwiththepalegleamoftwonobleCHRISTICRUCIFIXI，onecarvedinivory，theothermouldedinwax。’HehashistraysofTassie’sgems，histinyLouis-QuatorzeBONBONNIEREwithaminiaturebyPetitot，hishighlyprized’brown-biscuitteapots，filagree-
worked，’hiscitronmoroccoletter-case，andhis’pomona-green’
chair。
Onecanfancyhimlyingthereinthemidstofhisbooksandcastsandengravings，atruevirtuoso，asubtleconnoisseur，turningoverhisfinecollectionofMareAntonios，andhisTurner’s’LiberStudiorum，’ofwhichhewasawarmadmirer，orexaminingwithamagnifiersomeofhisantiquegemsandcameos，’theheadofAlexanderonanonyxoftwostrata，’or’thatsuperbALTISSIMO
RELIEVOoncornelian，JupiterAEgiochus。’Hewasalwaysagreatamateurofengravings，andgivessomeveryusefulsuggestionsastothebestmeansofformingacollection。Indeed，whilefullyappreciatingmodernart，heneverlostsightoftheimportanceofreproductionsofthegreatmasterpiecesofthepast，andallthathesaysaboutthevalueofplastercastsisquiteadmirable。
Asanart-criticheconcernedhimselfprimarilywiththecompleximpressionsproducedbyaworkofart，andcertainlythefirststepinaestheticcriticismistorealiseone’sownimpressions。HecarednothingforabstractdiscussionsonthenatureoftheBeautiful，andthehistoricalmethod，whichhassinceyieldedsuchrichfruit，didnotbelongtohisday，butheneverlostsightofthegreattruththatArt’sfirstappealisneithertotheintellectnortotheemotions，butpurelytotheartistictemperament，andhemorethanoncepointsoutthatthistemperament，this’taste，’ashecallsit，beingunconsciouslyguidedandmadeperfectbyfrequentcontactwiththebestwork，becomesintheendaformofrightjudgment。Ofcoursetherearefashionsinartjustastherearefashionsindress，andperhapsnoneofuscaneverquitefreeourselvesfromtheinfluenceofcustomandtheinfluenceofnovelty。Hecertainlycouldnot，andhefranklyacknowledgeshowdifficultitistoformanyfairestimateofcontemporarywork。
But，onthewhole，histastewasgoodandsound。HeadmiredTurnerandConstableatatimewhentheywerenotsomuchthoughtofastheyarenow，andsawthatforthehighestlandscapeartwerequiremorethan’mereindustryandaccuratetranscription。’OfCrome’s’HeathScenenearNorwich’heremarksthatitshows’howmuchasubtleobservationoftheelements，intheirwildmoods，doesforamostuninterestingflat，’andofthepopulartypeoflandscapeofhisdayhesaysthatitis’simplyanenumerationofhillanddale，stumpsoftrees，shrubs，water，meadows，cottagesandhouses；
littlemorethantopography，akindofpictorialmap-work；inwhichrainbows，showers，mists，haloes，largebeamsshootingthroughriftedclouds，storms，starlight，allthemostvaluedmaterialsoftherealpainter，arenot。’Hehadathoroughdislikeofwhatisobviousorcommonplaceinart，andwhilehewascharmedtoentertainWilkieatdinner，hecaredaslittleforSirDavid’spicturesashedidforMr。Crabbe’spoems。WiththeimitativeandrealistictendenciesofhisdayhehadnosympathyandhetellsusfranklythathisgreatadmirationforFuseliwaslargelyduetothefactthatthelittleSwissdidnotconsideritnecessarythatanartistshouldpaintonlywhathesees。Thequalitiesthathesoughtforinapicturewerecomposition，beautyanddignityofline，richnessofcolour，andimaginativepower。Upontheotherhand，hewasnotadoctrinaire。’Iholdthatnoworkofartcanbetriedotherwisethanbylawsdeducedfromitself：whetherornotitbeconsistentwithitselfisthequestion。’Thisisoneofhisexcellentaphorisms。AndincriticisingpainterssodifferentasLandseerandMartin，StothardandEtty，heshowsthat，touseaphrasenowclassical，heistrying’toseetheobjectasinitselfitreallyis。’
However，asIpointedoutbefore，heneverfeelsquiteathiseaseinhiscriticismsofcontemporarywork。’Thepresent，’hesays，’isaboutasagreeableaconfusiontomeasAriostoonthefirstperusal……Modernthingsdazzleme。ImustlookatthemthroughTime’stelescope。EliacomplainsthattohimthemeritofaMS。poemisuncertain；\"print，\"asheexcellentlysays，\"settlesit。\"Fiftyyears’toningdoesthesamethingtoapicture。’HeishappierwhenheiswritingaboutWatteauandLancret，aboutRubensandGiorgione，aboutRembrandt，Corregio，andMichaelAngelo；
happiestofallwhenheiswritingaboutGreekthings。WhatisGothictouchedhimverylittle，butclassicalartandtheartoftheRenaissancewerealwaysdeartohim。HesawwhatourEnglishschoolcouldgainfromastudyofGreekmodels，andneverweariesofpointingouttotheyoungstudenttheartisticpossibilitiesthatliedormantinHellenicmarblesandHellenicmethodsofwork。
InhisjudgmentsonthegreatItalianMasters，saysDeQuincey，’thereseemedatoneofsincerityandofnativesensibility，asinonewhospokeforhimself，andwasnotmerelyacopierfrombooks。’
Thehighestpraisethatwecangivetohimisthathetriedtorevivestyleasaconscioustradition。Buthesawthatnoamountofartlecturesorartcongresses，or’plansforadvancingthefinearts，’willeverproducethisresult。Thepeople，hesaysverywisely，andinthetruespiritofToynbeeHall，mustalwayshave’thebestmodelsconstantlybeforetheireyes。’
Asistobeexpectedfromonewhowasapainter，heisoftenextremelytechnicalinhisartcriticisms。OfTintoret’s’St。
GeorgedeliveringtheEgyptianPrincessfromtheDragon，’heremarks：-
TherobeofSabra，warmlyglazedwithPrussianblue，isrelievedfromthepalegreenishbackgroundbyavermilionscarf；andthefullhuesofbotharebeautifullyechoed，asitwere，inalowerkeybythepurple-lakecolouredstuffsandbluishironarmourofthesaint，besidesanamplebalancetothevividazuredraperyontheforegroundintheindigoshadesofthewildwoodsurroundingthecastle。
Andelsewherehetalkslearnedlyof’adelicateSchiavone，variousasatulip-bed，withrichbrokentints，’of’aglowingportrait，remarkableforMORBIDEZZA，bythescarceMoroni，’andofanotherpicturebeing’pulpyinthecarnations。’
But，asarule，hedealswithhisimpressionsoftheworkasanartisticwhole，andtriestotranslatethoseimpressionsintowords，togive，asitwere，theliteraryequivalentfortheimaginativeandmentaleffect。Hewasoneofthefirsttodevelopwhathasbeencalledtheart-literatureofthenineteenthcentury，thatformofliteraturewhichhasfoundinMr。RuskinandMr。
Browning，itstwomostperfectexponents。HisdescriptionofLancret’sREPASITALIEN，inwhich’adark-hairedgirl，\"amorousofmischief，\"liesonthedaisy-powderedgrass，’isinsomerespectsverycharming。Hereishisaccountof’TheCrucifixion，’byRembrandt。Itisextremelycharacteristicofhisstyle：-
Darkness-sooty，portentousdarkness-shroudsthewholescene：
onlyabovetheaccursedwood，asifthroughahorridriftinthemurkyceiling，arainydeluge-’sleety-flaw，discolouredwater’-
streamsdownamain，spreadingagrislyspectrallight，evenmorehorriblethanthatpalpablenight。AlreadytheEarthpantsthickandfast！thedarkenedCrosstrembles！thewindsaredropt-theairisstagnant-amutteringrumblegrowlsunderneaththeirfeet，andsomeofthatmiserablecrowdbegintoflydownthehill。Thehorsessnuffthecomingterror，andbecomeunmanageablethroughfear。Themomentrapidlyapproacheswhen，nearlytornasunderbyHisownweight，faintingwithlossofblood，whichnowrunsinnarrowerrivuletsfromHisslitveins，Histemplesandbreastdrownedinsweat，andHisblacktongueparchedwiththefierydeath-fever，Jesuscries，’Ithirst。’ThedeadlyvinegariselevatedtoHim。
Hisheadsinks，andthesacredcorpse’swingssenselessofthecross。’Asheetofvermilionflameshootssheerthroughtheairandvanishes；therocksofCarmelandLebanoncleaveasunder；thesearollsonhighfromthesandsitsblackwelteringwaves。Earthyawns，andthegravesgiveuptheirdwellers。Thedeadandthelivingaremingledtogetherinunnaturalconjunctionandhurrythroughtheholycity。Newprodigiesawaitthemthere。Theveilofthetemple-theunpierceableveil-isrentasunderfromtoptobottom，andthatdreadedrecesscontainingtheHebrewmysteries-
thefatalarkwiththetablesandseven-branchedcandelabrum-isdisclosedbythelightofunearthlyflamestotheGod-desertedmultitude。
Rembrandtneverpaintedthissketch，andhewasquiteright。Itwouldhavelostnearlyallitscharmsinlosingthatperplexingveilofindistinctnesswhichaffordssuchamplerangewhereinthedoubtingimaginationmayspeculate。Atpresentitislikeathinginanotherworld。Adarkgulfisbetwixtus。Itisnottangiblebythebody。Wecanonlyapproachitinthespirit。
Inthispassage，written，theauthortellsus，’inaweandreverence，’thereismuchthatisterrible，andverymuchthatisquitehorrible，butitisnotwithoutacertaincrudeformofpower，or，atanyrate，acertaincrudeviolenceofwords，aqualitywhichthisageshouldhighlyappreciate，asitisitschiefdefect。Itispleasanter，however，topasstothisdescriptionofGiulioRomano’s’CephalusandProcris’：-
WeshouldreadMoschus’slamentforBion，thesweetshepherd，beforelookingatthispicture，orstudythepictureasapreparationforthelament。Wehavenearlythesameimagesinboth。Foreithervictimthehighgrovesandforestdellsmurmur；
theflowersexhalesadperfumefromtheirbuds；thenightingalemournsonthecraggylands，andtheswallowinthelong-windingvales；’thesatyrs，too，andfaunsdark-veiledgroan，’andthefountainnymphswithinthewoodmeltintotearfulwaters。Thesheepandgoatsleavetheirpasture；andoreads，’wholovetoscalethemostinaccessibletopsofalluprightestrocks，’hurrydownfromthesongoftheirwind-courtingpines；whilethedryadsbendfromthebranchesofthemeetingtrees，andtheriversmoanforwhiteProcris，’withmany-sobbingstreams，’
Fillingthefar-seenoceanwithavoice。