illustration to a book and such creative and original works as Michael
Angelo's fresco of The Expulsion from Eden and Rossetti's Beata Beatrix.
In the latter case the artist treats literature as if it were life
itself, and gives a new and delightful form to what seer or singer has
shown us; in the former we have merely a translation which misses the
music and adds no marvel. As for subject, Mr. Image protested against
the studio-slang that no subject is necessary, defining subject as the
thought, emotion or impression which a man desires to embody in form and
colour, and admitting Mr. Whistler's fireworks as readily as Giotto's
angels, and Van Huysum's roses no less than Mantegna's gods. Here, we
think that Mr. Image might have pointed out more clearly the contrast
between the purely pictorial subject and the subject that includes among
its elements such things as historical associations or poetic memories;
the contrast, in fact, between impressive art and the art that is
expressive also. However, the topics he had to deal with were so varied
that it was, no doubt, difficult for him to do more than suggest. From
subject he passed to style, which he described as 'that masterful but
restrained individuality of manner by which one artist is differentiated
from another.' The true qualities of style he found in restraint which
is submission to law; simplicity which is unity of vision; and severity,
for le beau est toujours severe.

The realist he defined as one who aims at reproducing the external
phenomena of nature, while the idealist is the man who 'imagines things
of fine interest.' Yet, while he defined them he would not separate
them. The true artist is a realist, for he recognises an external world
of truth; an idealist, for he has selection, abstraction and the power of
individualisation. To stand apart from the world of nature is fatal, but
it is no less fatal merely to reproduce facts.