external world, whose beauty is but the transfer and dim reflection of
the beauty of nature. Were it so, then the mirror, or the camera, were
the best of all artists. As expression, fine art is the imitation of the
soul within; of outward realities as received into the mind and heart of
the artist, in their ideal and emotional setting. The artist gives word
or expression to what he sees; but what he sees is within him. His work
is self-expression. We can from this infer where to look for a solution
of the controversy between idealism and realism. We can also see how,
owing to the essential disproportion between the material and sensible
media of expression which art uses, and the immaterial and spiritual
realities it would body forth, its utterances must always be symbolic,
never literal. We can see how needlessly they embarrass themselves who
deny the name of fine art to any work whose theme is not beautiful, or
which is not morally didactic. Finally, we can see that if fine art be
but an extension of language, there can be no immediate connection
between art as art, and general moral character; no more reason for
supposing that skilful and beautiful self-utterance is incompatible with
immorality, than that its absence is incompatible with sanctity.

Yet, as a matter of fact, and rightly, we judge of art not merely as
art, or as expression; but we look to that which is expressed, to the
inner soul which is revealed to us, to the "matter" as well as to the
"form." And it maybe questioned whether our estimate of a work is not
rather determined in most cases by this non-artistic consideration.
Obviously it is possible in our estimate of a landscape, to be drawn
away from the artistic to the real beauty; from its merits as a "word,"
or expression, to the merits of the thing signified. And still more
naturally is our admiration drawn from the artist's self-utterance, to
the self which he endeavours to utter, and we are brought into sympathy
with his thought and feeling. Much of the fascination exercised over us