all was never intended in nature; but that some one or more of them,
becoming dominant, should distinguish the individual. It follows,
therefore, if this be the case, that only through the phase of such
predominance can the human being ever be contemplated. To the Artist,
then, it becomes the only safe ground; the starting-point from
whence to ascend to a true Ideal,--which is no other than a partial
individual truth made whole in the mind: and thus, instead of one
Ideal, and that baseless, he may have a thousand,--nay, as many as
there are marked or apprehensible _individuals_.

But we must not be understood as confining Art to actual portraits.
Within such limits there could not be Art,--certainly not Art in its
highest sense; we should have in its place what would be little better
than a doubtful empiricism; since the most elevated subject, in the
ablest hands, would depend, of necessity, on the chance success of a
search after models. And, supposing that we bring together only the
rarest forms, still those forms, simply as circumscribed portraits,
and therefore insulated parts, would instantly close every avenue
to the imagination; for such is the law of the imagination, that it
cannot admit, or, in other words, recognize as a whole, that which
remains unmodified by some imaginative power, which alone can give
unity to separate and distinct objects. Yet, as it regards man,
all true Art does, and must, find its proper object in the
_Individual_: as without individuality there could not be
character, nor without character, the human being.

But here it may be asked, In what manner, if we resort not to actual
portrait, is the Individual Man to be expressed? We answer, By
carrying out the natural individual predominant _fragment_ which
is visible to us in actual Form, to its full, consistent developement.