Not, indeed, if it
were utterly vulgar or painful; but we are not yet certain that the
art which represents what is vulgar or painful is itself of much
value; and with respect to the art whose aim is beauty, even of an
inferior order, it seems that Dante's idea of its perfection has still
much evidence in its favour. For among persons of native good sense,
and courage enough to speak their minds, we shall often find a
considerable degree of doubt as to the use of art, in consequence of
their habitual comparison of it with reality. "What is the use, to me,
of the painted landscape?" they will ask: "I see more beautiful and
perfect landscapes every day of my life in my forenoon walk." "What is
the use, to me, of the painted effigy of hero or beauty? I can see a
stamp of higher heroism, and light of purer beauty, on the faces round
me, utterly inexpressible by the highest human skill." Now, it is
evident that to persons of this temper the only valuable picture
would, indeed, be _mirrors_, reflecting permanently the images of the
things in which they took delight, and of the faces that they loved.
"Nay," but the reader interrupts (if he is of the Idealist school), "I
deny that more beautiful things are to be seen in nature than in art;
on the contrary, everything in nature is faulty, and art represents
nature as perfected.
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