and we have purposely
characterized them as concisely as we could, in our extracts, which
strongly show the peculiar style of Mr Fuseli. If this introduction was,
however, intended for artists, it implies in them a more advanced
education in Greek and Latin literature than they generally possess. Mr
Fuseli was himself an accomplished scholar. How desirable is it that the
arts and general scholarship should go together! The classics, fully to
be enjoyed, require no small cultivation in art; and as the greater
portion of ancient art is drawn from that source, Greek mythology, and
classical history and literature, such an education would seem to be the
very first step in the acquirements of an artist. We believe that in
general they content themselves with Lempriere's Dictionary; and that
rather for information on subjects they may see already painted, than
for their own use; and thus, for lack of a feeling which only education
can give, a large field of resources is cut off from them. If it be said
that English literature--English classics, will supply the place, we
deny it; for there is not an English classic of value to an artist, who
was not, to his very heart's core, embued with a knowledge and love of
the ancient literature. We might instance but two, Spenser and
Milton--the statute-books of the better English art--authors whom, we do
not hesitate to say, no one can thoroughly understand or enjoy, who has
not far advanced in classical education. We shall never cease to throw
out remarks of this kind, with the hope that our universities will yet
find room to foster the art within them; satisfied as we are that the
advantages would be immense, both to the art and to the universities.
How many would then pursue pleasures and studies most congenial with
their usual academical education, and, thus occupied, be rescued from
pursuits that too often lead to profligacy and ruin; and sacrifice to
pleasures that cannot last, those which, where once fostered, have ever
been permanent!

* * * * *

The FIRST LECTURE is a summary of ancient art--one rather of research
than interest--more calculated to excite the curiosity of the student
than to offer him any profitable instruction. The general matter is well
known to most, who have at all studied the subject. Nor have we
sufficient confidence in any theory as to the rise and growth of art in
Greece, to lay much stress upon those laid down in this lec