Produced by Joshua Hutchinson, Tonya Allen and PG Distributed
Proofreaders
Antique Art, beside affording a standard by which the modern may bemeasured, has the remarkable property-giving it a higher value—oftesting the genuineness of the Art-impulse.
Even to genius, that is, to the artist, a true Art-life is difficultof attainment. In the midst of illumination, there is the mystery: thesubjective mystery, out of which issue the germs—like seeds floatedfrom unknown shores—of his imaginings; the objective mystery, whichyields to him, through obvious, yet unexplained harmonies, the means ofmanifestation.
Behind the consciousness is the power; behind the power, that whichgives it worth and occupation.
To the artist definite foresight is denied. His life is full ofsurprises at new necessities. When the present demand shall have beenfulfilled, what shall follow? Shall it be Madonna, or Laocoön? Hiserrand is like that of the commander who bears sealed instructions; andhe may drift for years, ere he knows wherefore. Thorwaldsen waited,wandering by the Tiber a thousand days,—then in one, uttered hisimmortal "Night."
Not even the severest self-examination will enable one in whom theArt-impulse exists to understand thoroughly its aim and uses; yet toapproximate a clear perception of his own nature and that of the art towhich he is called is one of his first duties. What he is able to do,required to do, and permitted to do, are questions of vital importance.
Possession of himself, of himself in the highest, will alone enable thestudent in Art to solve the difficulties of his position. His habitualconsciousness must be made up of the noblest of all that has beenrevealed to it; otherwise those fine intuitions, akin to the ancientinspirations, through whose aid genius is informed of its privileges,are impossible.
Therefore the foremost purpose of an artist should be to claim and takepossession of self. Somewhere within is his inheritance, and he must notbe hindered of it. Other men have other gifts,—gifts bestowed underdifferent conditions, and subject in a great degree to choice. Talent isnot fastidious. It is an instrumentality, and its aim is optional withhim who possesses it. Genius is exquisitely fastidious, and the man whomit possesses must live its life, or no life.
In view of these considerations, the efforts of an artist to assume histrue position must be regarded with earnest interest, and importancemust be attached to that which aids him in attaining to his true plane.
Such aid may be, and is, derived from the influences of Italy. Of thoseagencies which have a direct influence upon the action of the artist,which serve to assist him in manifesting his idea and fulfilling hispurpose, mention will be made in connection with the works which havebeen produced in Italian studios. They have less importance than thatgreat element related to the innermost of the artist's life,—to thatpower of which we have spoken, making Art-action necessary.
It is not, however, exclusively antique Art which exercises this powerof elevation. Ancient Art may be a better term; as all great Art bearsa like relation to the student. In Florence the mediaeval influencespredominate. Rome exercises its power through the medium of theanti