hasty visits to the galleries of Europe, that we shall effect an object so desirable, but by a faithful recognition of the feelings naturally excited by works of art, not indeed flippant, as if our raw, uncultivated nature was at once competent to appreciate those finer manifestations of nature, which slow growths of ages and peculiar aspects of society have occasionally brought out, to testify to us what we may and should be. We know it is not so; we know that if such works are to be assimilated at all by those who are not under the influences that produced them, it must be by gradually educating us to their own level. But it is not blind faith that will educate us, that will open the depths and clear the eye of the mind, but an examination which cannot be too close, if made in the spirit of reverence and love.
It was as an essay in this kind that the following pages were written. They are pages of a journal, and their form has not been altered, lest any attempt at a more fair and full statement should destroy that freshness and truth of feeling, which is the chief merit of such.
July, 1839.
On the closing of the Allston exhibition, where I have spent so many hours, I find myself less a gainer than I had expected, and feel that it is time to look into the matter a little, with such a torch or penny rush candle as I can command.
I have seen most of these pictures often before; the Beatrice and Valentine when only sixteen. The effect they produced upon me was so great, that I suppose it was not possible for me to avoid expecting too large a benefit from the artist.
The calm and meditative cast of these pictures, the ideal beauty that shone through rather than in them, and the harmony of colouring were as unlike anything else I saw, as the Vicar of Wakefield to Cooper’s novels. I seemed to recognise in painting that self-possessed elegance, that transparent depth, which I most admire in literature; I thought with delight that such a man as
