tensive a class is

Ideas of relation are of course, with respect to art generally, the most extensive as the most important source of pleasure; 54 Why no sub- and if we proposed entering upon the criticism of division of so ex historical works, it would be absurd to attempt necessary. to do so without further subdivision and arrangement. But the old landscape painters got over so much canvas without either exercise of, or appeal to, the intellect, that we shall be little troubled with the subject as far as they are concerned; and whatever subdivision we may adopt, as it will therefore have particular reference to the works of modern artists, will be better understood when we have obtained some knowledge of them in less important points.

By the term "ideas of relation," then, I mean in future to express all those sources of pleasure, which involve and require, at the instant of their perception, active exertion of the intellectual powers.

SECTION II.

OF POWER.

CHAPTER I.

GENERAL PRINCIPLES RESPECTING IDEAS OF POWER.

for detailed study

tion.

first,

WE have seen in the last section, what classes of ideas may be conveyed by art, and we have been able so far to appreciate their relative worth as to see, that from the list, as it is to be 1. No necessity applied to the purposes of legitimate criticism, we of ideas of imita- may at once throw out the ideas of imitation ; because, as we have shown, they are unworthy the pursuit of the artist; and secondly, because they are nothing more than the result of a particular association of ideas of truth. In examining the truth of art, therefore, we shall be compelled to take notice of those particular truths, whose association gives rise to the ideas of imitation. We shall then see more clearly the meanness of those truths, and we shall find ourselves able to use them as tests of vice in art, saying of a picture," It deceives, therefore it must be bad."

Ideas of power, in the same way, cannot be §2. Nor for separate study of completely viewed as a separate class; not because

ideas of power. they are mean or unimportant, but because they are almost always associated with, or dependent upon, some of the higher ideas of truth, beauty, or relation, rendered with decision or velocity. That power which delights us in the chalk sketch of a great painter is not one of the fingers, not like that of the writing-master, mere dexterity of hand. It is the accuracy and certainty of the knowledge, rendered evident by its rapid and fearless expression, which is the real source of pleasure; and so upon each difficulty of art, whether it be to know,

or to relate, or to invent, the sensation of power is attendant, when we see that difficulty totally and swiftly vanquished. Hence, as we determine what is otherwise desirable in art, we shall gradually develop the sources of the ideas of power; and if there be anything difficult which is not otherwise desirable, it must be afterwards considered separately.

§ 3. Except under one particular form.

But it will be necessary at present to notice a particular form of the ideas of power, which is partially independent of knowledge of truth, or difficulty, and which is apt to corrupt the judgment of the critic, and debase the work of the artist. It is evident that the conception of power which we receive from a calculation of unseen difficulty, and an estimate of unseen strength, can never be so impressive as that which we receive from the present sensation or sight of the one resisting, and the other overwhelming. In the one case the power is imagined, and in the other felt. There are thus two modes in which we receive $4. There are two modes of receiv- the conception of power; one, the most just, when ing ideas of power, commonly in- by a perfect knowledge of the difficulty to be overcome, and the means employed, we form a right estimate of the faculties exerted; the other, when without possessing such intimate and accurate knowledge, we are impressed by a sensation of power in visible action. If these two modes of receiving the impression agree in the result, and if the sensation be equal to the estimate, we receive the utmost possible idea of power. But this is the case perhaps with the works of only one man out of the whole circle of the fathers of art, of him to whom we have just referred, Michael Angelo. In others, the estimate and the sensation are constantly unequal, and often contradictory.

consistent.

15. First reason

tency.

The first reason of this inconsistency is, that in of the inconsis- order to receive a sensation of power, we must see it in operation. Its victory, therefore, must not be achieved, but achieving, and therefore imperfect. Thus we receive a greater sensation of power from the half-hewn limbs of the Twilight to the Day of the Cappella de' Medici, than even from the divine inebriety of the Bacchus in the gallerygreater from the life dashed out along the Friezes of the Parthenon, than from the polished limbs of the Apollo,-greater

from the ink sketch of the head of Raffaelle's St. Catherine, than from the perfection of its realization.

§ 6. Second reason

tency.

Another reason of the inconsistency is, that the for the inconsis- sensation of power is in proportion to the apparent inadequacy of the means to the end; so that the impression is much greater from a partial success attained with slight effort, than from perfect success attained with greater porportional effort. Now, in all art, every touch or effort does individually less in proportion as the work approaches perfection. The first five chalk touches bring a head into existence out of nothing. No five touches in the whole course of the work will ever do so much as these, and the difference made by each touch is more and more imperceptible as the work approaches completion. Consequently, the ratio between the means employed and the effect produced is constantly decreasing, and therefore the least sensation of power is received from the most perfect work.

§ 7.

The sensation of power ought not to be

fect art.

It is thus evident that there are sensations of power about imperfect art, so that it be right art sought in imper- as far as it goes, which must always be wanting in its perfection; and that there are sources of pleasure in the hasty sketch and rough hewn block, which are partially wanting in the tinted canvas and the polished marble. But it is nevertheless wrong to prefer the sensation of power to the intellectual perception of it. There is in reality greater power in the completion than in the commencement; and though it be not so manifest to the senses, it ought to have higher influence on the mind; and therefore in praising pictures for the ideas of power they convey, we must not look to the keenest sensation, but to the highest estimate, accompanied with as much of the sensation as is compatible with it; and thus we shall consider those pictures as conveying the highest ideas of power which attain the most perfect end with the slightest possible means; not, observe, those in which, though much has been done with little, all has not been done, but from the picture, in which all has been done, and yet not a touch thrown away. The quantity of work in the sketch is necessarily less in proportion to the effect obtained than in the picture; but

yet the picture involves the greater power, if out of all the additional labor bestowed on it, not a touch has been lost.

§ 8. Instances in ern artists.

For instance, there are few drawings of the pictures of mod- present day that involve greater sensations of power than those of Frederick Tayler. Every dash tells, and the quantity of effect obtained is enormous, in proportion to the apparent means. But the effect obtained is not complete. Brilliant, beautiful, and right, as a sketch, the work is still far from perfection, as a drawing. On the contrary, there are few drawings of the present day that bear evidence of more labor bestowed, or more complicated means employed, than those of John Lewis. The result does not, at first, so much convey an impression of inherent power as of prolonged exer tion; but the result is complete. Water-color drawing can be carried no farther; nothing has been left unfinished or untold. And on examination of the means employed, it is found and felt that not one touch out of the thousands employed has been thrown away ;-that not one dot nor dash could be spared without loss of effect ;-and that the exertion has been as swift as it has been prolonged-as bold as it has been persevering. The power involved in such a picture is of the highest order, and the enduring pleasure following on the estimate of it pure.

$9. Connection

power and modes of execution.

But there is still farther ground for caution in between ideas of pursuing the sensation of power, connected with the particular characters and modes of execution. This we shall be better able to understand by briefly reviewing the various excellences which may belong to execution, and give pleasure in it; though the full determination of what is desirable in it, and the critical examination of the execution of different artists, must be deferred, as will be immediately seen, until we are more fully acquainted with the principles of truth.