arts, as in the instance of Homer, the principal object is
obtained in a degree not equalled by his successors. But there is a
degree of execution which, in more refined times, the poet or musician
begins to study, which gives a value of its own to their productions of
a different kind from the rude strength of their predecessors. Poetry
becomes complicated in its rules--music learned in its cadences and
harmonies--rhetoric subtle in its periods. There is more given to the
labour of executing--less attained by the effect produced. Still the
nobler and popular end of these arts is not forgotten; and if we have
some productions too learned, too _recherches_ for public feeling, we
have, every now and then, music that electrifies a whole assembly,
eloquence which shakes the forum, and poetry which carries men up to the
third heaven. But in painting it is different; it is all become a
mystery, the secret of which is lodged in a few connoisseurs, whose
object is not to praise the works of such painters as produce effect on
mankind at large, but to class them according to their proficiency in
the inferior rules of the art, which, though most necessary to be taught
and learned, should yet only be considered as the _Gradus ad
Parnassum_--the steps by which the higher and ultimate object of a great
popular effect is to be attained. They have all embraced the very style
of criticism which induced Michael Angelo to call some Pope a poor
creature, when, turning his attention from the general effect of a noble
statue, his Holiness began to criticise the hem of the robe. This seems
to me the cause of the decay of this delightful art, especially in
history, its noblest branch. As I speak to myself, I may say that a
painting should, to be excellent, have something to say to the mind of a
man, like myself, well-educated, and susceptible of those feelings which
anything strongly recalling natural emotion is likely to inspire. But
how seldom do I see anything that moves me much! Wilkie, the far more
than Teniers of Scotland, certainly gave many new ideas. So does Will
Allan, though overwhelmed with their rebukes about colouring and
grouping, against which they are not willing to place his general and
original merits. Landseer's dogs were the most magnificent things I ever
saw--leaping, and bounding, and grinning on the canvas. Leslie has great
powers; and the scenes from Moliere by [Newton] are excellent. Yet
painting wants a regenerator--s