ble, the few
considerations which are ever present to the painter. The connoisseur who
would judge of his work, either subjectively or technically, must follow
in his footprints and be careful to follow closely. He must appreciate
the differences in the creeds of workers in color and not apply the
formulas of impressionism to works in tone. He must not emphasize the
importance of drawing in the work which clearly speaks of color and by its
technique ignores all else; nor expect the miracle of luscious,
translucent color in a work demanding the minute drawing of detail. He
can, however, be sure that the criteria of judgment which under all
circumstances will apply are:

Balanced and unified composition, both of line and mass.

Harmony of color, expressed by the correlation of all colors throughout
the picture.

Tone, or the unification of all colors upon the basis of a given hue.

Values, or the relation of the shades of an object to each other and the
degree of relation between one object and another.

Envelopment, or the sense of air with which objects are surrounded.

With these five ideas in mind the critic of Philistia may enter the
gallery, constituting himself a jury of one, assured he is armed with
every consideration which influenced the artist in his work and the art
committee in its acceptance thereof.

Judgment however does not end here. These constitute the tables of the
law, and law finds its true interpretation only in the spirit of the
living principle.

CHAPTER XVIII - THE BIAS OF JUDGMENT

If discernment was ours to trace through the maze of fashion and
experimental originality the living principle of true art, the caprice of
taste would have little to do with the comfort of our convictions or the
worth of our investments.

Fallacy has its short triumphs and the persuasive critic or the creator of
art values may effect real value but for a day. The limit of the
credulity of the public, which Lincoln has immortalized, is the basis of
hope.

The public in time rights itself.

Error in discerning this living principle in art is cause for the deepest
contrition at the confessional of modern life. Unsigned and unrecognized
works by modern masters have been rejected by juries to whom in haste the
doors of the _Salon_ or _Society_ have been reopened with apologies. The
nation which assumes the highest degree of aesthetic perception turned its
back on Millet and Corot and Courbet