ly so
very subordinate an element that it does not deserve equality of
nomenclature. But, whether pursued in pride or in affection (how far by
either we shall see presently), the first notable characteristic of the
Renaissance central school is its introduction of accurate knowledge
into all its work, so far as it possesses such knowledge; and its
evident conviction, that such science is necessary to the excellence of
the work, and is the first thing to be expressed therein. So that all
the forms introduced, even in its minor ornament, are studied with the
utmost care; the anatomy of all animal structure is thoroughly
understood and elaborately expressed, and the whole of the execution
skilful and practised in the highest degree. Perspective, linear and
aerial, perfect drawing and accurate light and shade in painting, and
true anatomy in all representations of the human form, drawn or
sculptured, are the first requirements in all the work of this school.

Sec. VII. Now, first considering all this in the most charitable light,
as pursued from a real love of truth, and not from vanity, it would, of
course, have been all excellent and admirable, had it been regarded as
the aid of art, and not as its essence. But the grand mistake of the
Renaissance schools lay in supposing that science and art are the same
things, and that to advance in the one was necessarily to perfect the
other. Whereas they are, in reality, things not only different, but so
opposed, that to advance in the one is, in ninety-nine cases out of the
hundred, to retrograde in the other. This is the point to which I would
at present especially bespeak the reader's attention.

Sec. VIII. Science and art are commonly distinguished by the nature of
their actions; the one as knowing, the other as changing, producing, or
creating. But there is a still more important distinction in the nature
of the things they deal with. Science deals exclusively with things as
they are in themselves; and art exclusively with things as they affect
the human senses and human soul.[8] Her work is to portray the
appearance of things, and to deepen the natural impressions which they
produce upon living creatures. The work of science is to substitute
facts for appearances, and demonstrations for impressions. Both,
observe, are equally concerned with truth; the one with truth of aspect,
the other with truth of essence. Art does not represent things falsely,
but truly as they appear to