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，’