the contemplation of them; and also points out the relation which subsists
between this and all other sentient and cognizant faculties of man. To the
man of thought and speculation, therefore, it is of the highest
importance, but by itself alone it is quite inadequate to guide and direct
the essays and practice of art.

Now, the history of the fine arts informs us what has been, and the theory
teaches what ought to be accomplished by them. But without some
intermediate and connecting link, both would remain independent and
separate from one and other, and each by itself, inadequate and defective.
This connecting link is furnished by criticism, which both elucidates the
history of the arts, and makes the theory fruitful. The comparing
together, and judging of the existing productions of the human mind,
necessarily throws light upon the conditions which are indispensable to
the creation of original and masterly works of art.

Ordinarily, indeed, men entertain a very erroneous notion of criticism,
and understand by it nothing more than a certain shrewdness in detecting
and exposing the faults of a work of art. As I have devoted the greater
part of my life to this pursuit, I may be excused if, by way of preface, I
seek to lay before my auditors my own ideas of the true genius of
criticism.

We see numbers of men, and even whole nations, so fettered by the
conventions of education and habits of life, that, even in the
appreciation of the fine arts, they cannot shake them off. Nothing to them
appears natural, appropriate, or beautiful, which is alien to their own
language, manners, and social relations. With this exclusive mode of
seeing and feeling, it is no doubt possible to attain, by means of
cultivation, to great nicety of discrimination within the narrow circle to