Herein is concealed the whole secret of the value of pre-Raphaelite Art,
and not, as we have been assured, in the faithfulness of its followers
to the exact representation of the individual details of Nature. Each
wrought from the love of Nature, consciously giving what truth he
possessed, unconsciously giving of his own interior life. Each picture
was the child of the painter. Yet, however much the ancient artist may
have failed in rendering the specific truths of the external world,
we can never attribute his failure to any disregard for the true.
His picture never gives the impression of falsehood; and in the most
erroneous record of the external there is ever the promise of more
truth, and this promise is not that of the man, but of the principle
governing the character of his picture.
We think that all works of Art may be divided into two distinct classes:
those which are the result of a man's whole nature, involving the
affectional, religious, and intellectual, and those which are the
productions of the intellect, and from the will. The first class
comprises those results of Art which are vital,--which come to
us through processes of growth, and impress us with a sense
of organization. The second includes those works which are
constructed,--which present an accumulation of objects mechanically
combined, parts skilfully joined through scientific means.
Earnestness and the definite purpose which is its sign, love which drew
the soul into sweetest communion with our mother Nature, giving to him
who thus came revelations of the harmonies possible between her and her
children, and devotion to his art mightier than ever inspired the Hindoo
devotee in self-sacrifice, characterized those who have given all that
pure Art which has been alluded to as the true: and such were the
majority of those artists who preceded Raphael.
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