in the least endeavoring to compose or arrange the
form. It is a simple piece of fact-work, healthy and good as such, and
useful to any one who wanted to know plain truths about tendrils of
vines, but there is no attempt at design in it. Plate XIX., below,
represents a branch of vine used to decorate the angle of the Ducal
Palace. It is faithful as a representation of vine, and yet so designed
that every leaf serves an architectural purpose, and could not be spared
from its place without harm. This is central work; fact and design
together. Fig. 2 in Plate VI. is a spandril from St. Mark's, in which
the forms of the vine are dimly suggested, the object of the design
being merely to obtain graceful lines and well proportioned masses upon
the gold ground. There is not the least attempt to inform the spectator
of any facts about the growth of the vine; there are no stalks or
tendrils,--merely running bands with leaves emergent from them, of which
nothing but the outline is taken from the vine, and even that
imperfectly. This is design, unregardful of facts.

Now the work is, in all these three cases, perfectly healthy. Fig. 1 is
not bad work because it has not design, nor Fig. 2 bad work because it
has not facts. The object of the one is to give pleasure through truth,
and of the other to give pleasure through composition. And both are
right.

What, then, are the diseased operations to which the three classes of
workmen are liable?

Sec. XLVI. Primarily, two; affecting the two inferior classes:

1st, When either of those two classes Despises the other:

2nd, When either of the two classes Envies the other; producing,
therefore, four forms of dangerous error.

First, when the men of facts despise design. This is the error of the
common Dutch painters, of merely imitative painters of still life,
flowers, &c., and other men who, having either the gift of accurate
imitation or strong sympathies with nature, suppose that all is done
when the imitation is perfected or sympathy expressed. A large body of
English landscapists come into this class, including most clever
sketchers from nature, who fancy that to get a sky of true tone, and a
gleam of sunshine or sweep of shower faithfully expressed, is all that
can be required of art. These men are generally themselves answerable
for much of their deadness of feeling to the higher qualities of
composition. They probably have not originally the high gifts of design,
but they l