Reynolds observes: "To discover beauties, or to point out faults, in the works of celebrated masters, and to compare the conduct of one artist with another, is certainly no mean or inconsiderable part of criticism; but this is still no more than to know the art through the artist. This test of investigation must have two capital defects-it must be narrow, and it must be uncertain. To enlarge the boundaries of the art of painting, as well as to fix its principles, it will be necessary that that art and those principles should be considered in their correspondence with the principles of the other arts, which, like this, address themselves primarily and principally to the imagination. When those connected and kindred principles are brought together to be compared, another comparison will grow out of this; that is, the comparison of them all with those of human nature, from whence arts derive the materials upon which they are to produce effects. This, as it is the highest style of criticism, is at the same time the soundest."

A general notion seems to have prevailed, in this country at least, that speculation and action are almost inconsistent, and that the sine quà non for an artist is incessant practice. Although it must be admitted that if the artist is to select between practice and theory, there can be no doubt

as to which is best; yet it must also be admitted that this examination of the general principles relating to the Fine Arts must be beneficial even to artists. Reynolds observes: "That practice that is tolerable in its way is not totally blind; an imperceptible theory which grows out of, accompanies, and directs it, is never wholly wanting to a sedulous practice: but this goes but a little way with the painter merely, and is utterly inexplicable to others." This would seem at least as good a reason for teaching general readers the elements of criticism in the Fine Arts as for teaching the principles of ethics, or any other such branch of knowledge, which from time to time engages the attention of civilised nations, and surely must advance and assist the artist in his practice. There is a prevalent, though erroneous idea, that books relating to the theory of art are more likely to do harm than good to the artist. I shall again fortify my own view by that of Reynolds, who says, "By whatever studies criticism may gain ground, we need be under no apprehension that invention will ever be annihilated or subdued, or intellectual energy brought utterly within the restraint of written law. Genius will still have room to expatiate, and keep always at the same distance from narrow comprehension and mechanical perform

ance." It is erroneous to suppose that books on art are peculiar to modern times, and that no treatises appeared till the master-works of modern painting had been produced. In the fifteenth century, the voluminous works of Lorenzo Ghiberti, Leon Battista Alberti, and Leonardo da Vinci, were written, of which the last two have been published. Of works belonging to the same period, which still remain in MS., or which have been lost, there is a further list, by Pietro della Francesca, Francesco di Giorgio, Baldassar Peruzzi, Domenicho Ghirlandajo, and Raphael: Vasari alludes to the treatises of the last two; and to the above many others written in the fifteenth and sixteenth centuries might be added. There is also a MS. of Filarete, a sculptor, of the fifteenth century, still preserved in Florence; and as regards technical matters, such as the work of Cennini (which has been published), the list is endless. Many of the writings quoted by Vasari were doubtless quoted by him from historical notices only; but the works to which we have access are sufficient to show that, both theoretically and practically, written information accompanied the progress of art during its best periods. The same observation holds good with respect to ancient art: and Pliny, like Vasari, appears to have borrowed from writings which were extant in his time.

A great step has been made in a right direction by the establishment of the Fine Arts Commission. A new stimulus has been given to the production of works of painting and sculpture; artists of great merit have been either created or called into notice by the rewards offered; and the free admission to the exhibition of their productions has tended to extend the general interest of the public in works of art. Attention was first called to the probability that the building the new Houses of Parliament might be the means of advancing the Fine Arts by Mr. Hawes, who moved for a Parliamentary inquiry; and we are indebted to Sir Robert Peel both for the Commission, and the judicious selection of Mr. Eastlake as the secretary.

The papers of Mr. Eastlake, printed in the Appendix to the Reports of this Commission, have explained much as regards the condition and true objects of painting and sculpture, partly with reference to the general nature of these arts, and partly with reference to the particular application of painting to public buildings. Although these papers have to a certain extent become known to the public through the means of the Athenæum and other journals, it occurred to me that it would be useful to collect them in a volume, and thus make them more generally accessible, especially as

there were some other treatises of the same writer, which had appeared elsewhere, of equal value. On applying to Mr. Eastlake on this subject, he kindly undertook to revise these essays; and their publication is with his sanction.

Besides these papers, a fragment "On the Philosophy of the Fine Arts" is included. This, though begun some years since, has not hitherto been published.

As regards the papers reprinted from the Appendix to the Reports of the Fine Arts Commission, their value was fully admitted when they appeared. With respect to the paper on BASSO-RELIEVO, my own opinion of its merit is fully borne out by the testimony of the eminent sculptor Gibson, who observes, in a letter to me,-"The first time I read our friend Eastlake's essay on BASSO-RELIEVO was at Rome. I then thought, and I continue to think, that he has treated the subject more correctly and more learnedly than any other writer whom I have met with.

"To a sculptor this is a subject of great importance; and I think that the students in this country would derive much advantage from frequently and carefully studying this essay, by which they would become more impressed with the necessity of adhering to of adhering to the principles