6. So far as education does indeed tend to make the senses delicate, and the perceptions accurate, and thus enables people to be pleased with quiet instead of gaudy colour, and with graceful instead of coarse form; and by long acquaintance with the best things, to discern quickly what is fine from what is common—so far acquired taste is an honourable faculty, and it is true praise of anything to say it is "in good taste." But,{3} so far as this higher education has a tendency to narrow the sympathies and harden the heart, diminishing the interest of all beautiful things by familiarity, until even what is best can hardly please, and what is brightest hardly entertain,—so far as it fosters pride, and leads men to found the pleasure they take in anything, not on the worthiness of the thing, but on the degree in which it indicates some greatness of their own, (as people build marble porticoes, and inlay marble floors, not so much because they like the colours of marble, or find it pleasant to the foot, as because such porches and floors are costly, and separated in all human eyes from plain entrances of stone and timber);—so far as it leads people to prefer gracefulness of dress, manner, and aspect, to value of substance and heart, liking a well-said thing better than a true thing, and a well-trained manner better than a sincere one, and a delicately-formed face better than a good-natured one,—and in all other ways and things setting custom and semblance above everlasting truth;—so far, finally, as it induces a sense of inherent distinction between class and class, and causes everything to be more or less despised which has no social rank, so that the affection, pleasure, and grief of a clown are looked upon as of no interest compared with the affection and grief of a well-bred man;—just so far, in all these several ways, the feeling induced by what is called "a liberal education" is utterly adverse to the understanding of noble art.
{3} Nobody need begin this second volume sentence unless they are breathed like the Græme:—
"Right up Ben Ledi could he press, And not a sob his toil confess."
7. He who habituates himself in his daily life to seek for the stern facts in whatever he hears or sees, will have these facts again brought before him by the involuntary imaginative power, in their noblest associations; and he who seeks for frivolities and fallacies, will have frivolities and fallacies again presented to him in his dreams.{4}
{4} Very good. Few people have any idea how much more important the government of the mind is, than the force of its exertion. Nearly all the world flog their horses, without ever looking where they are going.
8. All the histories of the Bible are yet waiting to be painted. Moses has never been painted; Elijah never; David never (except as a mere ruddy stripling); Deborah never; Gideon never; Isaiah never.{5} What single example does the reader remember of painting which suggested so much as the faintest shadow of their deeds? Strong men in armour, or aged men with flowing beards, he may remember, who, when he looked at his Louvre or Uffizi catalogue, he found were intended to stand for David, or Moses. But does he suppose that, if these pictures had suggested to him the feeblest image of the presence of such men, he would have passed on, as he assuredly did, to the next picture, representing, doubtless, Diana and Actæon, or Cupid and the Graces, or a gambling quarrel in a pothouse—with no sense of pain or surprise? Let him meditate over the matter, and he will find ultimately that what I say is true, and that religious art at once complete and sincere never yet has existed.
{5} I knew nothing, when I wrote this passage, of Luini, Filippo Lippi, or Sandro Botticelli; and had not capacity to enter into the deeper feelings, even of the men whom I was chiefly studying,—Tintoret and Fra Angelico. But the British public is at present as little acquainted with the greater Florentines as I was then, and the passage, for them, remains true.