general criticism? There are a few great painters, like Michelangelo or Lionardo, whose work has become a force in general culture, partly for this very reason that they have absorbed into themselves all such workmen as Sandro Botticelli; and, over and above mere technical or antiquarian criticism, general criticism may be very well employed in that sort of interpretation which adjusts the position of these men to general culture, whereas smaller men can be the proper subjects only of technical or antiquarian treatment. But, besides those great men, there is a certain number of artists who have a distinct faculty of their own by which they convey to us a peculiar quality of pleasure which we cannot get elsewhere, and these, too, have their place in general culture, and have to be interpreted to it by those who have felt their charm strongly, and are often the objects of a special diligence and a consideration wholly affectionate, just because there is not about them the stress of a great name and authority. Of this select number Botticelli is one; he has the freshness, the uncertain and diffident promise which belongs to the earlier Renaissance itself, and makes it perhaps the most interesting period in the history of the mind; in studying his work one begins to understand to how great a place in human culture the art of Italy had been called.
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