DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0431
INTRODUCTION.
387
eye and judgment, more than painting. If there be the
cant of criticism, there is also the cant of ignorance, which
is quite as bad; therefore it is that I look with some dis-
trust on the attempts to popularize—that is, vulgarize-
high art, and substitute vague and fanciful declamation for
legitimate criticism. It will be asked, can that which is
in itself beautiful and excellent be vulgarized by being
diffused? Who shall fix the bounds of what is styled
legitimate criticism ? Art and criticism, under one
aspect, the demonstrative, are finite ; under another
aspect, the suggestive, art is as infinite as nature, criticism
as boundless as the capacities of the human intellect;
the capabilities of pleasure from both, as various as the
shades of individual character, and happily, not confined
to those who have had time and opportunities to investi-
gate the principles on which their judgment is founded.
But I cannot help thinking that if we diffuse, by means of
national galleries, cheap prints, art-unions, and so forth,
the mere liking for pictures, as such, without diffusing at
the same time that refined and elevated standard of taste
which is the result of cultivation and discernment, and
education, we are like to be deluged with mediocrity;
every man, woman, and child will turn critic, and art and
artists together will be essentially vulgarized.
Now it is the peculiar charm and advantage of a cabinet
of pictures, selected by a refined and unerring taste, and
stamped by its acknowledged authority, that it lifts us
above such a possibility.
“ En petite espace vous pouvez voir,
Ce qui comprend beaucoup par renommee.”
I repeat, that I would rather bring one whom I wished
to educate to a true comprehension of the characteristic
excellences of various painters, to this, than to a larger
gallery, or, indeed, to any gallery with which I am ac-
s 2
387
eye and judgment, more than painting. If there be the
cant of criticism, there is also the cant of ignorance, which
is quite as bad; therefore it is that I look with some dis-
trust on the attempts to popularize—that is, vulgarize-
high art, and substitute vague and fanciful declamation for
legitimate criticism. It will be asked, can that which is
in itself beautiful and excellent be vulgarized by being
diffused? Who shall fix the bounds of what is styled
legitimate criticism ? Art and criticism, under one
aspect, the demonstrative, are finite ; under another
aspect, the suggestive, art is as infinite as nature, criticism
as boundless as the capacities of the human intellect;
the capabilities of pleasure from both, as various as the
shades of individual character, and happily, not confined
to those who have had time and opportunities to investi-
gate the principles on which their judgment is founded.
But I cannot help thinking that if we diffuse, by means of
national galleries, cheap prints, art-unions, and so forth,
the mere liking for pictures, as such, without diffusing at
the same time that refined and elevated standard of taste
which is the result of cultivation and discernment, and
education, we are like to be deluged with mediocrity;
every man, woman, and child will turn critic, and art and
artists together will be essentially vulgarized.
Now it is the peculiar charm and advantage of a cabinet
of pictures, selected by a refined and unerring taste, and
stamped by its acknowledged authority, that it lifts us
above such a possibility.
“ En petite espace vous pouvez voir,
Ce qui comprend beaucoup par renommee.”
I repeat, that I would rather bring one whom I wished
to educate to a true comprehension of the characteristic
excellences of various painters, to this, than to a larger
gallery, or, indeed, to any gallery with which I am ac-
s 2