manly and moral sentiments. As I have
been able to get the popular ideal represented by its own living art, so
I can give you this popular faith in its own living words; but in words
meant seriously and not at all as caricature, from one of our leading
journals, professedly aesthetic also in its very name, the _Spectator_,
of August 6th, 1870.

[Illustration: PLATE IX.--APOLLO CHRYSOCOMES OF CLAZOMENAE.]

"Mr. Ruskin's plan," it says, "would make England poor, in order that
she might be cultivated, and refined and artistic. A wilder proposal was
never broached by a man of ability; and it might be regarded as a proof
that the assiduous study of art emasculates the intellect, _and even the
moral sense_. Such a theory almost warrants the contempt with which art
is often regarded by essentially intellectual natures, like Proudhon"
(sic). "Art is noble as the flower of life, and the creations of a
Titian are a great heritage of the race; but if England could secure
high art and Venetian glory of colour only by the sacrifice of her
manufacturing supremacy, and _by the acceptance of national poverty_,
then the pursuit of such artistic achievements would imply that we had
ceased to possess natures of manly strength, _or to know the meaning of
moral aims_. If we must choose between a Titian and a Lancashire cotton
mill, then, in the name of manhood and of morality, give us the cotton
mill. Only the dilettantism of the studio; that dilettantism which
loosens the moral no less than the intellectual fibre, and which is as
fatal to rectitude of action as to correctness of reasoning power, would
make a different choice."

You see also, by this interesting and most memorable passage, how
completely the question is admitted to be one of ethics--the only real
point at issue being, whether this face or that is developed on the
truer moral principle.

140. I assume, however, for the present, that this Apolline type is the
kind of form you wish to reach and to represent. And now observe,
instantly, the whole question of manner of imitation is altered for us.
The fins of the fish, the plumes of the swan, and the flowing of the
Sun-God's hair are all represented by incisions--but the incisions do
sufficiently represent the fin and feather,--they _in_sufficiently
represent the hair. If I chose, with a little more care and labor, I
could absolutely get the surface of the scales and spines of the fish,
and the expression of its mouth; but n