not touch one of them: they are inessential to the
tree's life,--he must give the flow and bending of the branch only, else
he does not enough "see Pallas" in it.

Or to take a higher instance, here is an exquisite little painted poem,
by Edward Frere; a cottage interior, one of the thousands which within
the last two months[123] have been laid desolate in unhappy France.
Every accessory in the painting is of value--the fireside, the tiled
floor, the vegetables lying upon it, and the basket hanging from the
roof. But not one of these accessories would have been admissible in
sculpture. You must carve nothing but what has life. "Why"? you probably
feel instantly inclined to ask me.--You see the principle we have got,
instead of being blunt or useless, is such an edged tool that you are
startled the moment I apply it. "Must we refuse every pleasant accessory
and picturesque detail, and petrify nothing but living creatures"?--Even
so: I would not assert it on my own authority. It is the Greeks who say
it, but whatever they say of sculpture, be assured, is true.

112. That then is the first law--you must see Pallas as the Lady of
Life--the second is, you must see her as the Lady of Wisdom; or [Greek:
sophia]--and this is the chief matter of all. I cannot but think, that
after the considerations into which we have now entered, you will find
more interest than hitherto in comparing the statements of Aristotle, in
the Ethics, with those of Plato in the Polity, which are authoritative
as Greek definitions of goodness in art, and which you may safely hold
authoritative as constant definitions of it. You remember, doubtless,
that the [Greek: sophia] or [Greek: arete technes], for the sake of
which Phidias is called [Greek: sophos] as a sculptor, and Polyclitus as
an image-maker, Eth. 6. 7. (the opposition is both between ideal and
portrait sculpture, and between working in stone and bronze) consists in
the "[Greek: nous ton timiotaton te physei]" "the mental apprehension of
the things that are most honourable in their nature." Therefore what is,
indeed, most lovely, the true image-maker will most love; and what is
most hateful, he will most hate, and in all things discern the best and
strongest part of them, and represent that essentially, or, if the
opposite of that, then with manifest detestation and horror. That is his
art wisdom; the knowledge of good and evil, and the love of good, so
that you may discern, even in his repre