THE POINT OF HONOUR


Not without significance is the Spanish nationality of Velasquez. In
Spain was the Point put upon Honour; and Velasquez was the first
Impressionist. As an Impressionist he claimed, implicitly if not
explicitly, a whole series of delicate trusts in his trustworthiness; he
made an appeal to the confidence of his peers; he relied on his own
candour, and asked that the candid should rely upon him; he kept the
chastity of art when other masters were content with its honesty, and
when others saved artistic conscience he safeguarded the point of honour.
Contemporary masters more or less proved their position, and convinced
the world by something of demonstration; the first Impressionist simply
asked that his word should be accepted. To those who would not take his
word he offers no bond. To those who will, he grants the distinction of
a share in his responsibility.

Somewhat unrefined, in comparison with his lofty and simple claim to be
believed on a suggestion, is the commoner painter's production of his
credentials, his appeal to the sanctions of ordinary experience, his self-
defence against the suspicion of making irresponsible mysteries in art.
"You can see for yourself," the lesser man seems to say to the world,
"thus things are, and I render them in such manner that your intelligence
may be satisfied." This is an appeal to average experience--at the best
the cumulative experience; and with the average, or with the sum, art
cannot deal without derogation. The Spaniard seems to say: "Thus things
are in my pictorial sight. Trust me, I apprehend them so." We are not
excluded from his counsels, but we are asked to attribute a certain
authority to him, master of the craft as he is, master of that art of
seeing pictorially which is the beginning and not far from the end--not