divine unity to which tend all the mysterious operations of organizing
energies.

We hold this to be the first essential condition of Landscape Art, the
condition without which no rendering of Nature can be Art. Other
points of excellence may be unattained. Let this be evident, that the
production is an offspring of humanity, and it shall be perceived also
that it partakes of whatever immortality the human heart inherits.
Herein is concealed the whole secret of the value of pre-Raphaelite Art,
and not, as we have been assured, in the faithfulness of its followers
to the exact representation of the individual details of Nature. Each
wrought from the love of Nature, consciously giving what truth he
possessed, unconsciously giving of his own interior life. Each picture
was the child of the painter. Yet, however much the ancient artist may
have failed in rendering the specific truths of the external world,
we can never attribute his failure to any disregard for the true.
His picture never gives the impression of falsehood; and in the most
erroneous record of the external there is ever the promise of more
truth, and this promise is not that of the man, but of the principle
governing the character of his picture.

We think that all works of Art may be divided into two distinct classes:
those which are the result of a man's whole nature, involving the
affectional, religious, and intellectual, and those which are the
productions of the intellect, and from the will. The first class
comprises those results of Art which are vital,--which come to
us through processes of growth, and impress us with a sense
of organization. The second includes those works which are
constructed,--which present an accumulation of objects mechanically
combined, parts skilfully joined through scientific means.