. Art and criticism : monographs and studies. amous bull one of the most incessantly oc-cupied seats in any Continental museum ? Why ? Becauseanybody can see that the subject of the picture is a bull; thefact can be readily controlled; the very hairs on the hidemight be counted. But the moment art rises above the com-monplace imitation of reality the estrangement between theartist and the multitude begins, and lessens only as the edu-cation of the public eye and of the mind progresses. Themore complete the education of the eye the more varied andintense is the merely sensual enjoyment of art i
. Art and criticism : monographs and studies. amous bull one of the most incessantly oc-cupied seats in any Continental museum ? Why ? Becauseanybody can see that the subject of the picture is a bull; thefact can be readily controlled; the very hairs on the hidemight be counted. But the moment art rises above the com-monplace imitation of reality the estrangement between theartist and the multitude begins, and lessens only as the edu-cation of the public eye and of the mind progresses. Themore complete the education of the eye the more varied andintense is the merely sensual enjoyment of art in its material A PKK-RAPHAKLITIC MANSION. 341 aspect; and the more extensive the culture of the mind thewider becomes our field of appreciation and the more rapidour faculty of entering into sympathetic and spiritual com-munion with the artist, whether he be a painter of naturaltruth, like Velasquez, a creator of definitive visions of beauty,like Botticelli, or a genius of complex intention and completeaccomplishment, like Leonardo da BURNE-JONES S CIRCE. The art of Rossetti and Burne-by the purely material and exterioradequate in the case of a Bastien-veret. Any student fresh from thescoff at the preternaturally swan-hands, and the countless physicalideal women ; he may even lament Jones is not to be judgedcriticism which would be Lepage or a Dagnan-Bou-Ecole des Beaux-Arts can like necks, the enormous deformations of Rossettisthat Burne-Jones does not 342 ART AND CRITICISM. base either his drawing or his color on a more strict observa-tion of natural truth. But such criticism is vain. We are herein presence of two personal artists whose works either give uspleasure or do not give us pleasure ; the record of our impres-sions will therefore be either an affirmation of joy or of disgust,and that joy or disgust we shall be able to analyze and accountfor with reference to our own temperaments or to chosen typ-ical temperaments. This is really all we can say with
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