the galleries where most
of them may be found; and in some degree his remarks will attach a value
to those dispersed; the best part of the "Journey," perhaps, is his
critical discrimination of the style and genius of Rubens. The marrow of
his Notes to Du Fresnoy's poem, and indeed of his papers in the "Idler,"
has been transferred to his Discourses, which, as they terminate his
literary labours, contain all that he considered important in a
discussion on taste and art. The notes to Du Fresnoy may, however, be
consulted by the practical painter with advantage, as here and there
some technical directions may be found, which, if of doubtful utility in
practice, will at least demand thought and reasoning upon this not
unimportant part of the art. To doubt is to reflect; judgment results,
and from this, as a sure source, genius creates. There are likewise some
memoranda useful to artists to be read in Northcote's "Life." The
influence of these Discourses upon art in this country has been much
less than might have been expected from so able an exposition of its
principles. They breathe throughout an admiration of what is great, give
a high aim to the student, and point to the path he should pursue to
attain it: while it must be acknowledged our artists as a body have
wandered in another direction. The Discourses speak to cultivated minds
only. They will scarcely be available to those who have habituated their
minds to lower views of art, and have, by a fascinating practice,
acquired an inordinate love for its minor beauties. It is true their
tendency is to teach, to _cultivate_: but in art there is too often as
much to unlearn as to learn, and the _unlearning_ is the more irksome
task; prejudice, self-gratulation, have removed the humility which is
the first step in the ladder of advancement. With the public at large,
the Discourses have done more; and rather by the reflection from that
improvement in the public taste, than from any direct appeal to artists,
our exhibitions have gained somewhat in refinement. And if there is,
perhaps, less vigour now, than in the time of Sir Joshua, Wilson, and
Gainsborough, those fathers of the English School, we are less seldom
disgusted with the coarseness, both of subject and manner, that
prevailed in some of their contemporaries and immediate successors. In
no branch of art is this improvement more shown than in scenes of
familiar life--which meant, indeed "Low Life." Vulgarity has given p